“As of today the Cidade Maravilhosa has a new and comfortable cinema: "Vitória", part of the Luiz Severiano Ribeiro Company and, like its counterparts São Luiz and Carioca, equipped with the most modern technical features — such as air conditioning, upholstered seats and impeccable sound and projection equipment. As the inaugural film, the anxiously awaited United release "The Great Dictator" was chosen, featuring Charlie Chaplin speaking for the first time in the most intelligent satire of his career. The "Cine Vitória" thus establishes itself, as of today, as one of the city's first great box-office hits.” It was with the above news that the newspaper Diário Carioca, of August 12, 1942, announced the birth of Cine Vitória, the last of the great street cinemas to join the Cinelândia circuit.
The premiere could not have been more fitting. Opened just days before Brazil declared war on the Axis nations (Italy, Japan and Germany), the Vitória screened, at its première, The Great Dictator — written, starred in, and directed by Charles Chaplin. The film, nominated for 5 Oscars, brought to the screen the full context of the era. And, whether by design or not, the Vitória carried in its name a word — more than that, a feeling — that, in that early part of the 1940s, was on the lips and in the minds of the Brazilian people.
In its August 11, 1942 edition, the magazine A Scena Muda wrote:
O Rio vai ganhar amanhã uma nova casa de espetáculos cinematográficos — o Cine Vitória. É sempre agradável o registro da inauguração de um cinema e muito maior quando esse acontecimento ocorre em meio às adversidades da hora presente. Nem mesmo a guerra impede a consumação das iniciativas louváveis, dos empreendimentos desse quilate. A guerra há de passar, mas o cinema ficará — ainda mais quando recebe no batismo o título de maior atualidade, nome que vale por um símbolo dos dias em que seus empresários o entregam ao público.
In the 1940s, Rio de Janeiro was witnessing the consolidation of cinema as the main form of urban leisure, a true symbol of civilization and progress. Praça Floriano and its surroundings, envisioned starting in the 1920s by businessman Francisco Serrador as a "tropical Broadway," were already the cultural heart of the city, filled with illuminated signs and grand movie palaces. Going to the movies, during this period, was a major social event: a ritual that required elegant attire and conferred status on those who attended. It was in this vibrant setting that Cinelândia continued to expand into adjacent streets, paving the way for new and modern movie theaters.
Image description: This image is a colorful postcard showing a panoramic view of a square called Praça Floriano. From left to right, we see a series of historic buildings with domes and ornamental architectural details. In the center, there is a large structure with columns and a blue roof. On the left, there is a building with a golden dome and a construction tower in the background. In the background, we see a landscape with water and mountains.Praça Floriano. Anônimo. Década de 1930. Acervo IMS.
Strategically designed to be part of the Severiano Ribeiro group's "Class A" circuit, Cine Vitória served multiple functions within the company's business strategy: rivaling foreign competition, such as the Metro-Goldwyn-Mayer chain of theaters; creating a new standard of excellence and luxury, heavily inspired by the grand theaters of New York; and consolidating the group's dominance in the Centro cinema circuit. The atmosphere at Vitória offered the height of refinement, comfort, and cooling and acoustic technologies.
Advertisement for the opening of Cine Vitória, 1942. The drawing shows the other Cinelândia movie theaters marked. Hemeroteca Digital Brasileira.
Built by the firm M. J. Pinto & Cia., the Vitória occupied the first three floors of the Edifício Rivoli, an imposing ten-story building located at Rua Senador Dantas, 45. With strong influence from American art déco — characterized by cubist geometrism and rectilinear lines — its design incorporated a Latin American regional identity, with elements inspired by Marajoara indigenous art, as well as Aztec and Inca influences. It also stood out for its use of fine materials, such as the reddish and cream marble cladding in the lobby, harmonized with panels of wrought-iron frames in the déco style.
The design of the spaces was carefully thought out to provide a unique experience. Even before entering, the public would already take shelter under the wide marquee that extended over the sidewalk, creating a smooth transition between the bustle of the street and the elegant universe of the cinema. The lobby, covered yet still open to the city, worked as an invitation — a space for pause where anticipation began to build, naturally leading to the ticket hall.
Upon purchasing the ticket, the spectator would arrive at the foyers — luxurious waiting rooms spread across two floors: one dedicated to the stalls and another to the balcony. There, time seemed to slow down. Conversations, glances, and elegant chatter mingled under the striking presence of a large art déco decorative panel, originally in bronze, depicting a hunting scene with figures of an indigenous person, an African, and a European — possibly an allusion to the formation of the Brazilian people. Curiously, the scene does not seem to be set in Brazil, since the animals depicted are a lion and a tiger. Poetic license.
The entrance ceremony reached its peak in the theater hall. With around 1,200 seats, the space opened up in an inviting way, its curved floor plan designed to guarantee a perfect view of the screen from any point. Above, the tiered ceiling followed the slope of the balcony, creating an imposing visual effect that not only impressed but also guided the audience's gaze — as if the entire architecture were silently conspiring toward a single destination: the luminous magic of the film about to begin.
Despite representing the height of modernity, the project sought to keep the tradition of theater alive, with the use of ochre color in some areas and curtains that protected the screen, opening majestically to the sound of gongs. All this combined with the most sophisticated engineering of the time: a modern acoustic system, air conditioning that kept the temperature at 23 °C, the use of noncombustible materials, and lighting dimmer control.
During the two decades following its opening, Cine Vitória experienced its absolute splendor. Its lineup included international premieres, festivals, the growing national production, and Latin American cinema. It remained modern through constant technological upgrades.
However, starting in the 1970s, the scene began to change. The era of street cinemas — especially in Cinelândia — was going into decline, as a result of the growing popularity of television, the rise of shopping centers, the decay of the downtown area, and the increase in urban violence. In an attempt to survive, Cine Vitória started showing adult films. There was even an attempt at reinvention in 1985, with the adoption of 3D technology, but the enthusiasm didn't last long. The cinema officially closed its doors in 1993, ending a cycle of more than 50 years.
After its closure, the building remained without regular activity. For a period, it operated as a parking lot and was even occupied by the Movimento Nacional de Luta pela Moradia (MNLM), but its structure already required action from the public authorities. Due to its historical and cultural importance and the risk of loss of memory, the heritage-listing process for the Edifício Rivoli and Cine Vitória complex was initiated in 2002, finalized in 2007 with Decree No. 27,705.
In 2012, after restoration and renovation, the old movie theater began housing the Livraria Cultura megastore, once again becoming a cultural landmark. The roughly 3,200 m² space, with wooden mezzanines, restored vitality to the building while preserving its original features.
Image description: The image is a photograph of a bookstore called "Livraria Cultura Vitória". The facade is made up of two red marble columns, with decorative details in black metal. At the top, there is an illuminated sign displaying the name "VITÓRIA" in large blue letters. Below, the name of the bookstore is written in smaller letters, also in blue. Inside the store, shelves with books and other decorative items can be seen.In the basement, the Eva Herz Theater was created, with 186 seats. Besides restoring the site's cultural vocation, the opening of the space allowed access to an area that had previously been restricted. Its configuration suggests that the space may have been designed as a shelter against air raids — a hypothesis consistent with the context of World War II.
In 2018, Cine Vitória suffered another setback: Livraria Cultura ceased operations, and the space closed once again. It was later taken over by ASSIST (Associação dos Servidores Públicos do Rio de Janeiro), which, in 2024, began using it as its headquarters and cultural center. Its work has been fundamental to preserving Cinelândia's legacy.
Image description: The image is a photograph of a building with a light-colored, well-lit façade. On the left side, there is a closed door, while the main entrance to "Associação dos Servidores Assist" is located in the center. The façade features architectural elements in shades of red and beige. At the top, there is a sign reading "VITÓRIA" in large black letters. Below that, the name "ASSIST" is written in blue, followed by the phrase "Associação dos Servidores," also in blue. Two blue flags are positioned in front of the entrance, each featuring the "ASSIST" logo prominently. The side windows are large and transparent, allowing a clear view of the building's interior.ASSIST – Associação dos Servidores Municipais, Estaduais e Federais do Rio de Janeiro is a non-profit organization, part of the Third Sector, established as a professional class association.
Founded in 1984 and recognized as a public utility entity, ASSIST has established itself, over more than 40 years of operation, as a benchmark in caring for and valuing public servants and their families. It currently offers 23 Collective Benefits and Programs, reaffirming its commitment to promoting well-being, health, quality of life, leisure, and safety, always guided by the relevance of its initiatives and by the care given to its membership.
Its membership is made up of civil and military public servants linked to government agencies, foundations, and mixed-capital companies, as well as members of the Armed Forces and of municipal, state, and federal government bodies in the State of Rio de Janeiro. Housed in the historic building that once held the former Cine Vitória — a property listed as heritage by the Rio Patrimônio da Humanidade Institute — ASSIST reaffirms, through its work, its commitment to preserving the memory, culture, and urban heritage of the city. In this context, the ASSIST de Portas Abertas project stands out, inviting the public to learn about the history of the institution, the building, and the surrounding area, offering guided experiences that connect culture, education, and a sense of belonging.
In addition, through the Soma Program, ASSIST develops its work in social and environmental responsibility, promoting voluntary and solidarity actions in support of public agencies and civil society organizations, with a focus on serving people in situations of social vulnerability.
The old cinema was transformed into a lively, welcoming space, promoting leisure, well-being, and access to culture. Initiatives such as the Open Doors Program brought the stage back to life — now renamed Teatro ASSIST — ensuring the continuity of the building's social role and safeguarding the memory of one of the most iconic landmarks of the golden age of Rio's street-corner cinemas.
