Madeleine Carroll co-starred in the film, but she’s not in this photo. The woman is probably Gary Cooper’s wife, actress and socialite Veronica Balfe, a sports enthusiast with the nickname “Rocky.”
The Capitol was then operating with a “Screen Only” policy, with a first-run feature supported by short subjects and a “deluxe” newsreel compiled from all five of those in distribution.
“Local Follies” was a short-lived fad whereby neighborhood theatres ran amateur talent contests with prizes provided by local merchants. I don’t think much in the way of stage facilities or dressing rooms were required.This was in the era when many nabes had yet to convert to sound, so they probably had a resident pianist or organist to accompany the amateur performers.
Managed at the time with late-run double features by Triad Theatres, a small Bronx circuit that also included the Vogue and Congress (later renamed Ace). Note Triad logo in upper right corner of ad.
Triboro listed in section with “The Heiress” & “Border Incident,” which were exclusive for the borough of Queens but had played the previous week exclusively for Queens at Loew’s Valencia in Jamaica.
The B&W musical was the first and only screen teaming of Al Jolson and Ruby Keeler, who were a married couple at the time. They performed together for one performance only at the Capitol that night, in addition to the scheduled stage show.
First in a series of “Jungle Jim” actioners produced by Sam Katzman for Columbia Pictures that capitalized on Johnny Weissmuller’s world fame as movie “Tarzan” and Olympic swimming champion.
This was the first New Year’s Eve since the USA entered WWII. The annual Christmas Holiday Show with “H.M. Pulham, Esq.” on screen, opened on December 18th and ran for 13 days.
Another update on current use has been posted at the “Forgotten New York Website.” Click here
Madeleine Carroll co-starred in the film, but she’s not in this photo. The woman is probably Gary Cooper’s wife, actress and socialite Veronica Balfe, a sports enthusiast with the nickname “Rocky.”
The Capitol was then operating with a “Screen Only” policy, with a first-run feature supported by short subjects and a “deluxe” newsreel compiled from all five of those in distribution.
“Local Follies” was a short-lived fad whereby neighborhood theatres ran amateur talent contests with prizes provided by local merchants. I don’t think much in the way of stage facilities or dressing rooms were required.This was in the era when many nabes had yet to convert to sound, so they probably had a resident pianist or organist to accompany the amateur performers.
A vintage postcard of the original exterior is displayed at the website for the Astoria Historical Society. Edited view here
By that time, the Paramount Theatre had ended stage presentations except for “special events” such as on opening day only.
Managed at the time with late-run double features by Triad Theatres, a small Bronx circuit that also included the Vogue and Congress (later renamed Ace). Note Triad logo in upper right corner of ad.
Regent listed with “The Return of Frank James,” sequel to “Jesse James,” both of which were in vivid Technicolor.
Tony Curtis and Janet Leigh were a married couple at the time, and the parents of two daughters, Kelly and Jamie Lee.
Wall Street Journal article on 90th anniversary of renaming as the 125th Street Apollo can be viewed here
Polaroid Corporation ran this ad in conjunction with the Capitol opening, but in general news sections and not on the entertainment pages.
The title role was a fictionalized version of Howard Hughes, who produced the B&W romp for United Artists release.
The British-made epic provided Paul Robeson with one of his most memorable acting roles, as well as a chance to sing.
All theatres listed were in Bergen County and/or environs.
Triboro listed in section with “The Heiress” & “Border Incident,” which were exclusive for the borough of Queens but had played the previous week exclusively for Queens at Loew’s Valencia in Jamaica.
The B&W musical was the first and only screen teaming of Al Jolson and Ruby Keeler, who were a married couple at the time. They performed together for one performance only at the Capitol that night, in addition to the scheduled stage show.
Recent views of the building, including this one, can be found in a new article about Bell Boulevard at the Forgotten New York website. Click here
The number 13 is so associated with bad luck that I don’t know why any sane management would want to use it in naming a cinema.
Astor had a reserved-seat policy, while “GWTW” was also being presented further north on Broadway at the Capitol Theatre with continuous performances.
First in a series of “Jungle Jim” actioners produced by Sam Katzman for Columbia Pictures that capitalized on Johnny Weissmuller’s world fame as movie “Tarzan” and Olympic swimming champion.
Published in The New York Times on November 18th, 1928.
This proved to be the final New Year’s Eve for the mighty Roxy, which closed forever in March, 1960 and was demolished that summer.
Currently making national news headlines with a dispute over seating policy. Details here
This was the first New Year’s Eve since the USA entered WWII. The annual Christmas Holiday Show with “H.M. Pulham, Esq.” on screen, opened on December 18th and ran for 13 days.
Currently being branded by Netflix management as “Manhattan’s Last Single-Screen Movie Palace.” What a distortion of architectural history!