Loew's State Theatre

Does anyone remember a Mr. Pearl that was a manager at the Loew’s State sometime in the 1930’s or 1940’s?

Thx, Jerry & William. I had forgotten to mention that the late 1952 U/I Newsreel clip of “Thunder Bay” featured the marquee of Loew’s State in the background, clear as day. Stereophonic sound, as noted elsewhere for the “GWTW” re-release, was new for the ‘53-'54 era.

Will check further on “The Robe.”

BrooklynJim,

This is from IMDB…..

Although filmed in the standard 1.37-1 aspect ratio, Thunder Bay was chosen by Universal-International as its first wide screen feature, accomplishing this by cropping the top and bottom and projecting it at 1.85-1 at Loew’s State Theatre in New York City, as well as other sites. Its initial presentation also marked UI’s first use of directional stereophonic sound. jerry

Thanks for the question. It is a test of the restored 70mm Norelco projectors that have been in storage (origin St. James Theatre, Asbury Park, NJ installed at the theatre in July 1958 and removed to Cinema Centre storage in May 1972 – first 70mm film at that location being SOUTH PACIFIC and last 70mm film being CONCERT FOR BANGLADESH). The print is a special archival item privately screened at the St. James facility in July 1969. As you may be aware (or not) the 1969 release of BEN-HUR at the Palace in New York was a trimmed down version and fashioned for standard 70mm exhibition at said theatre and several others. It contained no Overture, Intermission or Entr'acte. Several 35mm scope prints of this edition were made also. As the demand for this film was high, MGM supplied theatres with remaining 35mm mag/optical prints previously struck in 1960 and 1961. For the local release, Monmouth County, NJ area, in 1970, after “raodshow”, the Lyric Theatre, Asbury Park exhibited the full 1960 mag/optical print using their stereo penthouse and channeling the 4 tracks to the one and only center behind the screen speaker. Why you may ask, part of Walter Reade, Jr. compliance with 20th Century-Fox directives of using the magnetic tracks (legal situation presented and resolved). The new 35mm trimmed print of BEN-HUR made it’s debut at the Algonquin Theatre, Manasquan, NJ. The 1969 trim was very interesting and even the chariot race was a few turn arounds shorter. For the 16mm standard and scope release for non-theatrical exhibition, Films Incorporated offered both versions. As you may have note, before a film was offered to one of the major contracted networks, it would be released again in the theatre. As for BEN-HUR, it hit CBS on February 1971 complete version, minus the Overture, etc. The same was done by 20th-Fox for CLEOPATRA in 1971. A trimmed 70mm-stereo version was exhibited at the Ziegfeld, New York following a subsequent ABC-TV presentation (complete with marble slab semi-nude Taylor scene) in 1972. Films Incorporated again offred both versions and the first video release of CLEOPATRA, contracted to Magnetic Video, which became CBS/Fox video, was the trimmed version. This trimmed version was also used for WOR-TV “Million Dollar Movie” presentation and also found itself into HBO and Cinemax presentations. On CLEOPATRA, I saw the first cut of the film as two separate entities CAESAR AND CLEOPATRA and ANTONY AND CLEOPATRA. Although they were magnificent, I do prefer the cut that finally premiered at the Rivoli, New York. The first part had Cleopatra seen before the “rug presentation to Caesar” and that scene was not as powerful as in the “premiere” cut. For historical curiosity, if available, they should be released. However, the current available print, and video release, should remain standard, even when the end of the DVD special release misplaced the Entr'acte at the end of the First Acte. There are so many interesting items on theatres, exhibition, prints that I have experienced. I find that Cinema Treasures offers a vast venue for those discovering these wonderful theatres and individual involved in the mainstream of their operations (the personal recollections). I and yourself have seen a revival of extreme interest in theatres being reborn for the exhibition of cinematic masterpieces in their original form, and not just revival houses. The public and cinema enthusiasts are hungry for a theatre and film that will compliment their inward dreams, hopes, aspirations, etc. broadly presented in original form and under ideal situations. For there is a case in point on my part – The Paramount Theatre in Long Branch, NJ – Spanish/Moorish – used it for several screenings after it’s closing in September 1959. I pursued the issue of having this theatre, enthusiatically in 1975, after the demise of the Mayfair and St.James Theatres, Asbury Park, both of which, I was the exclusive archival photographer of their unfortunate destruction, to become a film theatre completely restored to its 1931 splendour, exhibiting 70mm, 35mm flat/scope, mag/op and curve-screen three-panel and 70mm curve-screen films. Now the dreams starts to become a reality from the proposal to the City of Long Branch in 1997 and the final reality in 2008. I am currently overlooking a delicate restoration and preservation of Samuel Bronston’s CINERAMA CIRCUS WORLD and have moved forward to examining an extraordinary original print of George Stevens' THE GREATEST STORY EVER TOLD with total Alfred Newman score and no Verdi or Handel replacements (including the so-called ROBE crucfixion sequences for “The Resurrection of Lazarus” that leads to Intermission. GREATEST STORY was not intented as entertainment or a “preach to you” film. As envisioned, and is evident in the scroll up “parchment” titles, it is a flowing series of meditations – Jesus of Nazareth" – a “Triumph of the Spirit of Humanity” production. There never was a 260 minute version. I screened the assembled fine cut December 1964 and attended the World Premiere in February 1965. Was I expecting a Samuel Bronston KING OF KINGS? No! The film is only workable and has it’s impact in 70mm Cinerama, just as at the Warner Cinerama – as an incredible experience. Fact! The contemplative nature of George Stevens' GREATEST STORY drove the vision of Stanley Kubrick’s 2001: a space Odyssey. Again thanks, for the comment Mr. Solero for people like yourself will bring about great expereinces who those to relive and those to discover. My gratitude again.

47th Anniversary “World Premiere” invitational ‘test’ screening.
William Wyler’s BEN-HUR.MGM Camera 65 [ultra Panavision 70-6 channel stereophonic sound]. Cinema Centre-Motion Picture Research Library- screening facility. Saturday, November 18th 7:30 p.m. Pre-screening reception and dining.

This photo was posted above somewhere, but seems fitting to accompany RobertR’s posting of the advertisement for the film on the marquee.

If you look closely at the reflections in this cafeteria window on Broadway between 45th and 46th Streets, you’ll see the titles of the films playing at the Loew’s State Twin across the street. The image dates from October, 1970, and it seems that when Lee Marvin in “Monte Walsh” moved into the State 2, “Lovers and Other Strangers” (which had been playing in #2 since 8/12/70 according to Ron3853’s July 21st, 2004, post) moved downstairs to accommodate it.

In the above ad, I noticed the reissue of “A Man for All Seasons” (1966) at the Fine Arts. I miss those reissues. Home video killed ‘em.

Intertesting to note in the above ad, I believe “Trouble Man” was the final film to play at the DeMille Theatre. There was a fire in the balcony during the film’s run.

E. Summer, You should have posted that post here.

/theaters/4099/

There is a thread for the new Loews State 4. There wanted to let the lease run out and that also came at a time when the AMC merger.

In Spring of 2006, the theaters located below ground in the Virgin Mega Store and still named “Loew’s State” were closed. The theaters remain, but nothing is being shown (August 2006). Apparently, despite the addition of foreign films (mostly Hindi language) to the regularly scheduled attractions, there was not enough business to merit keeping them open. A visitor to the site is met with a cloth-ribbon barrier and a darkened boxoffice.

Here’s a Loew’s block ad from 1986:
NY Times 10/27/86

The State is listed way down the ad as just another screen showing the tepid (and somewhat tasteless) comedy “Soul Man” – no more important to the circuit than, say, the Loew’s 84th Street Six. The 2nd State screen was evidently booked like an extension of the grind houses on nearby 42nd Street that day, playing a double bill of “Friday the 13th, Part VI” and “A Nightmare on Elm Street, Part II” and not listed in this block.