According to “The United Artists Story” by Ronald Bergan, “Hawaii” was a financial disaster that “never began to earn back the $15 million spent on it.”
A souvenir pamphlet distributed on the Midway’s grand opening night in September, 1942, was entitled “Intimate Facts About Myself,” and included the following: “I am what you would call modernistic– with all the latest wrinkles and gadgets. Here and now I want to give thanks to the late Thomas Lamb, one of the greatest of theatrical architects. In me, his last theatre, you will find the best example of his genius.”
Followed seven record-breaking weeks for “Scarface,” which moved over to Loew’s State (with vaudeville) and also onto the top tier of Loew’s neighborhood theatres…Children were not permitted to attend “Freaks” at the Rialto, and adults with health problems were also cautioned to stay away.
Lyric and New Amsterdam were the top rivals, dividing up the programs that were having their first Manhattan neighborhood runs on the Loew’s and RKO circuits.
In September, 1928, New York State Exhibitor reported that the North Star Theatre was in the process of demolition, to be replaced by the New York Skin & Cancer Hospital. The North Star had been closed for two years, and last managed by Sidney Cohen.
Opening day publicity (9/20/28) claimed seating capacity as follows:
1,950, orchestra; 450, balcony; 200, loges and boxes. First manager was Wade Ackerman, previously an assistant manager at Loew’s Grand.
A new article about Staten Island neighborhoods at the Forgotten New York website claims that the Paramount’s marquee has now been removed,
possibly in advance of the building’s demolition. Click here
At the time, “World’s Largest Movie Center” in that single block of West 42nd Street also included three theatres operated by Max Cohen’s Cinema Circuit—New Amsterdam, Harris, and Anco.
Architect’s photo taken prior to demolition of the two corner buildings, which were replaced by a single residential structure with address of 200 Central Park South.
The Republic Pictures release had debuted in Dublin and London in early June, and opened at the Capitol Theatre in advance of its USA launch in late September.
Loretta Young went on to win an Academy Award ‘Oscar’ for her performance in the title role. Charles Bickford was also nominated for a Supporting performance, but lost to Edmund Gwenn for “Miracle On 34th Street.”
This proved to be the Music Hall’s final Easter holiday presentation of the screen/stage policy that started in 1933. Easter Sunday in 1979 fell on April 15th, more than a month after the engagement started.
“The Promise” received mostly negative reviews, including just two stars (out of a possible four) from the NY Daily News.
For the gala 8:45 PM event, orchestra and loge seats were priced at $2.00, and $1.00 for balcony. Continuous performances at popular prices would prevail thereafter.
By that time, the Paramount was primarily a cinema, with occasional Rock & Roll stage shows. Louis Prima & Keely Smith were stars of a supporting featurette, “The Wildest.”
“All About Eve” never actually played at Loew’s 175th Street. After its Roxy premiere engagement, the 20th-Fox release had its first-run in Washington Heights at the RKO Coliseum, and then went on to other cinemas in the area.
Amusingly, Mae West’s strongest competition at the time was coming from “King Kong,” which had opened the previous day (3/02) at the two new showplaces in Radio City.
Easter Sunday was approaching on March 28th. The holiday offering had opened on March 11th.
Sabu forever!
According to “The United Artists Story” by Ronald Bergan, “Hawaii” was a financial disaster that “never began to earn back the $15 million spent on it.”
A souvenir pamphlet distributed on the Midway’s grand opening night in September, 1942, was entitled “Intimate Facts About Myself,” and included the following: “I am what you would call modernistic– with all the latest wrinkles and gadgets. Here and now I want to give thanks to the late Thomas Lamb, one of the greatest of theatrical architects. In me, his last theatre, you will find the best example of his genius.”
When first opened in 1938, screen was reported to be 48 feet high and 65 feet wide. Bottom of the screen was 30 feet above the ground.
Followed seven record-breaking weeks for “Scarface,” which moved over to Loew’s State (with vaudeville) and also onto the top tier of Loew’s neighborhood theatres…Children were not permitted to attend “Freaks” at the Rialto, and adults with health problems were also cautioned to stay away.
Lyric and New Amsterdam were the top rivals, dividing up the programs that were having their first Manhattan neighborhood runs on the Loew’s and RKO circuits.
In September, 1928, New York State Exhibitor reported that the North Star Theatre was in the process of demolition, to be replaced by the New York Skin & Cancer Hospital. The North Star had been closed for two years, and last managed by Sidney Cohen.
Opening day publicity (9/20/28) claimed seating capacity as follows: 1,950, orchestra; 450, balcony; 200, loges and boxes. First manager was Wade Ackerman, previously an assistant manager at Loew’s Grand.
A new article about Staten Island neighborhoods at the Forgotten New York website claims that the Paramount’s marquee has now been removed, possibly in advance of the building’s demolition. Click here
At the time, “World’s Largest Movie Center” in that single block of West 42nd Street also included three theatres operated by Max Cohen’s Cinema Circuit—New Amsterdam, Harris, and Anco.
Architect’s photo taken prior to demolition of the two corner buildings, which were replaced by a single residential structure with address of 200 Central Park South.
The Republic Pictures release had debuted in Dublin and London in early June, and opened at the Capitol Theatre in advance of its USA launch in late September.
Loretta Young went on to win an Academy Award ‘Oscar’ for her performance in the title role. Charles Bickford was also nominated for a Supporting performance, but lost to Edmund Gwenn for “Miracle On 34th Street.”
On the previous night of March 15th, a gala invitational premiere was held at Loew’s State 1 for the benefit of the Boys' Club of New York.
Loew’s opening day ad displayed here
An outmoded theatre was converted into retail space and later transformed into a modern cinema.
This proved to be the Music Hall’s final Easter holiday presentation of the screen/stage policy that started in 1933. Easter Sunday in 1979 fell on April 15th, more than a month after the engagement started. “The Promise” received mostly negative reviews, including just two stars (out of a possible four) from the NY Daily News.
For the gala 8:45 PM event, orchestra and loge seats were priced at $2.00, and $1.00 for balcony. Continuous performances at popular prices would prevail thereafter.
By that time, the Paramount was primarily a cinema, with occasional Rock & Roll stage shows. Louis Prima & Keely Smith were stars of a supporting featurette, “The Wildest.”
“All About Eve” never actually played at Loew’s 175th Street. After its Roxy premiere engagement, the 20th-Fox release had its first-run in Washington Heights at the RKO Coliseum, and then went on to other cinemas in the area.
Continuous performances started the next day.
Amusingly, Mae West’s strongest competition at the time was coming from “King Kong,” which had opened the previous day (3/02) at the two new showplaces in Radio City.
Greedy news on the new “Batman” feature: click here
From Municipal Tax Photos circa 1940-41.