Paramount Theatre

Here’s another side view of the Paramount’s marquee before it was converted to its final and more “modern” look with changeable silhouette lettering against a white glass background: thinkertothinker

Fifty-nine years ago today, the Paramount Theatre made exhibition history with the opening of the world premiere engagement of WB’s “House of Wax,” the first major studio feature in 3-D. Augmented with WarnerColor and WarnerPhonic Sound, the shocker starred Vincent Price, Phyllis Kirk, and Frank Lovejoy, who that night only made guest appearances in the Paramount’s stage show. Headlining the stage portion throughout the engagement was young recording sensation Eddie Fisher, supported by Hugo Winterhalter & His Orchestra, The Beachcombers, and comedian Joey Forman. The booking was hailed as the mightiest ever at the Paramount for the Easter holiday season.

This is to honor the incomparable French bombshell, Denise Darcel, who died last month at age 87. But sixty years ago today, Darcel opened on Broadway at the top of the Paramount Theatre’s stage bill, with comedian Jack Carter and Blue Barron & His Orchestra, also on the program. Filling the Paramount’s screen was RKO’s “The Las Vegas Story,” a B&W melodrama teaming Jane Russell and Victor Mature, in its NYC premiere engagement.

Sixty-nine years ago today, the Paramount Theatre opened a holiday program which advertising claimed would never be topped, including the world premiere engagement of Paramount’s B&W musical spectacular, “Star Spangled Rhythm.” The all-star cast featured most of the studio’s contract roster, including Bing Crosby, Bob Hope, Betty Hutton, Dorothy Lamour, Alan Ladd, Paulette Goddard, Veronica Lake, Ray Milland, Mary Martin, Fred MacMurray, Victor Moore, Eddie Bracken, Dick Powell, and Vera Zorina. Heading the Paramount’s stage show was Benny Goodman & His Orchestra, with Peggy Lee as vocalist. The comic Radio Rogues and dancers Moke & Poke provided support, with a skinny crooner named Frank Sinatra as “Extra Added Attraction.” On New Year’s Eve only, the Paramount Theatre would grind until dawn, with complete stage-and-screen shows starting at midnight and 2:45am.

As Chevalier sang in “Gigi,” I remember it well. I sat in the first row for three showings of “Sincerely Yours,” and Liberace played my request each time!

Sixty-seven years ago today, Paramount’s “I Love a Soldier,” a B&W romantic comedy with Paulette Goddard, Sonny Tufts, and Barry Fitzgerald, opened its NYC premiere engagement at the Paramount Theatre. Tony Pastor & His Orchestra, described as “THE band of 1944,” topped the stage bill, which also featured comedian Bert Wheeler, singer Marion Hutton, and tap dancer Hal LeRoy.

Bruce McCall’s color drawing on the front cover of the October 3rd issue of The New Yorker pokes hilarious fun at the modernization of midtown. Sidewallks are divided into lanes for locals and for tourists. The local lanes are practically empty, but the tourist lanes are so packed that police are required to keep them orderly. Signs on buildings have messages like “Eat Fat,” “Spend! Spend! Spend!,” “Clip Joint,” and “Ugly Junk.” Here’s a link. You need to enlarge the image to enjoy all the details: newyorkerstore

Have native New Yorkers been polled on whether they want this? I think it’s revolting, and catering solely to the tourist trade. Goodbye Times Square! Hello Las Vegas Strip! nytimes

Sixty-two years ago today, Paramount’s B&W “My Friend Irma,” based on Cy Howard’s treasured CBS Radio comedy series, opened its NYC premiere engagement at the Paramount Theatre. The Hal Wallis production starred Marie Wilson as the “dumb blonde,” John Lund, Diana Lynn, and Don DeFore, and featured the rising comedy team of Dean Martin and Jerry Lewis in their screen debut. Martin & Lewis also headlined the Paramount’s stage show, with support from Dick Stabile & His Orchestra, the Four Step Brothers, and Carolyn Grey. On opening day only, Marie Wilson joined the stage proceedings. Weekday admission at the Paramount was 55 cents from 8:30am opening until 1:00pm. George Wright was the Paramount’s resident organist at the time.

It closed In August 1964 with “The Carpetbaggers”. It then re-opened for three weeks in May 1965 when it showed the Electrovision “Harlow”, “operation Snafu” and “Black Spurs” each for one week, then closed again. It opened “Thunderball” in December of 1965 and closed for good in February 1966.

The introductory text needs to be corrected. The final movie at the Paramount was UA’s “Thunderball,” which opened as part of a Christmas holiday area-wide Showcase in December, 1965, and closed on February 21st, 1966. By that time, I think that the Paramount was the only original Showcase link still showing the James Bond epic.

Reminds of a souvenir calendar published by a Brooklyn historical society which included a photo claiming to show the Brooklyn Paramount. But it was actually the Wiltern Theatre in Los Angeles, disguised (not too accurately) as the Brooklyn Paramount for the Alan Freed biopic, “American Hot Wax.”

Seventy-five years ago today, Paramount’s B&W “Rhythm on the Range,” starring Bing Crosby, Frances Farmer, Bob Burns, and Martha Raye, opened its NYC premiere engagement at the Paramount Theatre. The entire stage show, described as an “Hour of Charm,” was performed by Phil Spitalny & His All-Girl Orchestra (which included musicians, singers, and dancers). As an added bonus, patrons could have a free consultation with Mogul, “the Boy with the X-Ray Mind,” in the Paramount’s grand lounge. General admission was 25 cents from 9:30am opening until 1:00pm.