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> and rebuilt seats by the new operator
Those were “balcony” seats, they were designed to be mounted on a level floor. Unfortunately, this theatre had a sloped floor, so the seat backs tilted slightly forward, making them rather uncomfortable. The rows were rather close together for a total seating of around 400. In the summer 1980, those seats were replaced with better seating purchased used from the closing little Willowbrook Mall Cinemas. At that time the seating was reduced to 296, giving more leg room with wider rows. There is no basement.
Riverdale never had a theatre. The closest theatre to Riverdale was The Colonial in Pompton Lakes. The next closest was the Butler Theatre on Arch street in Butler that closed in the 1950’s, followed by the Meadtown Cinema in Kinnelon which was built in the 1970’s and is still there.
[size=4][color=red]The Landmark Loews Jersey â€" The Wonder Theatre Of New Jersey[/color][/size]
This coming weekend of June 4th and 5th, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, concludes its 80th Birthday Jubilee and 10th consecutive year of classic films. All this season, we have been saluting the decades that the Landmark Loews Jersey has been entertaining us. For June, we will be presenting some great classic films from the 1980â€™s.
Located directly across from the PATH subway station connecting Manhattan with Jersey City, it is also easy to reach from most area highways. Secure discounted parking is located directly behind the theatre. Have your parking ticket validated at the theatreâ€™s boxoffice.
All Show Are Presented In 35mm With Genuine Carbon Arc Projection On Our Giant 50 Foot Wide Screen.
Friday June 4th at 8:00pm â€" Raging Bull (1980)
Starring Robert De Niro, Cathy Moriarty, Joe Pesci, Frank Vincent, Nicholas Colasanto. Directed by Martin Scorsese. (128mins., Rated: R)
Martin Scorsese’s brutal character study incisively portrays the rise, fall and redemption of real-life middleweight boxer Jake La Motta, a violent man in and out of the ring who seemed to thrive on his ability and willingness to take a beating. Opening with the spectacle of the over-the-hill La Motta (Robert De Niro) practicing his 1960s night-club act, the film flashes back to 1940s New York when Jake’s career is on the rise. But Scorsese and De Niro eschew uplifting, “Rocky”-like, boxing movie conventions to make an unflinching portrait of an unlikable man and his ruthless profession. Their Jake is relentlessly cruel and self-destructive, a person whose inner demons cannot be exorcised even by acclaim and success. The physical brutality that makes Jake a champion in the boxing ring cripples his relationships with his wives, his business associates, and his brother.
Saturday June 5th at 6:00pm â€" Pee-Weeâ€™s Big Adventure (1985)
Starring Paul Reubens, Elizabeth Daily, Mark Holton, Diane Salinger. Directed by Tim Burton.
(90mins, Rated: PG)
Tim Burton made his feature-length directorial debut with this film, and immediately established what would become his trademark quirky style. The film has a look reminiscent of German expressionist movies of the 1920s, filtered through a pop-art sensibility of cartoons, horror serials and Gothic fairy tales. The result is a surreal, mystical world, yet one very close to our own â€" that perfectly fits the absurdist humor. And the score by Danny Elfman is terrific. In all, Pee wee’s Big Adventure is a delightful film, enjoyable for children as well as adults.
Saturday June 5th at 8:15pm â€" The Blues Brothers (1980)
Starring John Belushi, Dan Aykroyd, James Brown, Ray Charles, Cab Calloway, Aretha Franklin, Carrie Fisher, John Candy, Henry Gibson. Directed by John Landis.
(133mins., Rated: R.)
This movie is also an unapologetic homage to rhythm-and-blues in all its popular derivatives, from Cab Calloway to James Brown to Aretha Franklin, all of whom appear in lovingly realized musical scenes. And there is great fun in spotting the other members of the filmâ€™s legion of guest stars, including John Candy, Carrie Fisher, Steve Lawrence, Twiggy, Paul Reubens (aka Pee-Wee Herman), Frank Oz and Steven Spielberg. And topping it all off, the streets, highways and police department of Chicago are laid to waste in what is, if not the most spectacular, then without doubt the funniest and coolest car chase scenes ever filmed. The Blues Brothers is filled with great fun and great music from beginning to end, and is the essence of entertainment.
Visit The Landmark Loews Jersey web site for details.
[size=1]The Landmark Loews Jersey Theatre[/size]
[size=3][color=red]The Landmark Loews Jersey â€" The Wonder Theatre Of New Jersey[/color][/size]
This coming weekend of May 21st and 22nd, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, continues its 80th Birthday Jubilee and 10th consecutive year of classic films. This season, we are saluting the decades that the Landmark Loews Jersey has been entertaining us. This month, we will be presenting some great classic films from the 1970â€™s.
Friday May 21st at 8:00pm â€" Taxi Driver (1976)
Starring Robert De Niro, Cybill Shepherd, Jodie Foster, Peter Boyle, Albert Brooks, Harvey Keitel.
Directed by Martin Scorsese. (113mins, Rated R)
“I’m God’s lonely man,” says Travis Bickle, played by Robert De Niro in one of his finest and most memorable performances. He’s an insomniac, ex-Marine and chronic loner who, even when he tries, canâ€™t seem to relate to the world around him. He drives a cab at night in the decaying New York City of the mid-1970s, which director Martin Scorsese and screenwriter Paul Schrader depict as a grimly stylized hell on Earth, where noise, filth, directionless rage, and dirty sex (both morally and literally) surround him at all turns. Lost in this toxic milieu, chronically isolated and potentially volatile, Bickle is a bomb waiting to explode, like the proverbial gun which, when produced in the first act, must go off in the third. After an encounter with a malevolent fare (played by Scorsese), the increasingly paranoid Bickle begins to condition (and arm) himself for his imagined destiny, a mission that mutates from assassinating a Presidential candidate to violently “saving” a teenage hooker (played by Jodie Foster) from her pimp. The film features Bernard Herrmann’s final score, reported to be finished the day he died.
Saturday May 22nd at 6:15pm â€" Blazing Saddles (1974)
Starring Cleavon Little, Gene Wilder, Madeline Kahn, Slim Pickens, Harvey Korman, Mel Brooks.
Written & Directed by Mel Brooks. (93mins, Rated R)
Blazing Saddles is vulgar, crude and sometimes scandalous â€" and is one of the funniest and most successful film spoofs of all time. It is also writer-director Mel Brooks at his ribald best, with further outrageous hilarity added by co-writer Richard Pryor. Cleavon Little plays the first African-American sheriff of a stunned Western town scheduled for demolition by an encroaching railroad. If that plot sounds, at least in part, like a throw-back to the movies of an earlier time, itâ€™s because Brooks was, in his own manic way, a central figure in revising classic film genres to reflect the 70s' values and attitudes â€" an effort more often associated with such directors as Robert Altman and Peter Bogdanovich. Blazing Saddles is a work that truly could have only been made in the ‘70s â€" the idiom of the classic American western hijacked into an over-the-top comedy that purposely and relentlessly shredded the popular conception of â€œgood tasteâ€ while making merciless fun of everyone, regardless of skin color or religious persuasion. If blacks came off as stereotypical, whites were shown as just plain stupid and ignorant. The result was one of the funniest films of all time â€" which, ironically, could probably not be made today in our more politically correct time. Beyond its over-the-top humor, Blazing Saddles boasts some great performances: Little and Gene Wilder have great chemistry; Madeline Kahn is wonderful as a chanteuse modeled on Marlene Dietrich; and Slim Pickens, Harvey Korman and even Brooks himself turn in great supporting roles.
Saturday May 22nd at 8:40pm â€" Saturday Night Fever (1977)
Starring John Travolta, Karen Gorney, Barry Miller, Joseph Cali, Paul Pope.
Directed by John Badham. (119mins, Rated R)
From the moment John Travolta sauntered down a Brooklyn street to the Bee Gees' “Stayin' Alive” at the beginning of Saturday Night Fever, music, movies and all of pop culture were irrevocably changed, and the 1970s gained what is perhaps the decade’s single most recognizable celluloid imagery. Travolta plays Tony Manero, a Brooklyn paint-store clerk who’s trapped in a dead-end existence â€" except at night on the disco dance floor, where, when he struts his stuff amid the flashing lights and sweaty, undulating bodies, heâ€™s a king. Part of the filmâ€™s success owes to how astutely it balanced a gritty sense of the 70s' economic and social malaise with galvanizing dance numbers. But of course, the hallmark of the film is Travolataâ€™s star-making performance â€" especially the scenes in his iconic white suit â€" and the Bee Gees soundtrack. During the first half of 1978, the movie’s disco songs saturated the singles charts, occupying up to four positions at a time, prompting more and more people to see the movie â€" just as, in turn, the movie’s vast popularity prompted more and more record sales. This powerful marketing synergy between movies and music set a new standard, with the film eventually grossing over $100 million and the soundtrack becoming one of the best-selling albums of all time. For many young people at the time, the movie marked their generation’s coming of age and was an indelible movie-going experience. By any measure, Saturday Night Fever is the definitive evocation of the Disco Era, and affirmation of Disco’s dominance of the pop culture scene at the time.
> I don’t think they’re actually imbedded, more like a visual link.
Exactly, they are visual links. None of the photos are embedded. None of the photos are loaded to cinematreasures servers. Chuck1231 is not a moderator here and he is not privy to any communications I have had with them. His concern posted above is not a valid concern, the photos have no effect on the cinematreasures servers.
Come Friday, I’ll be running Friday’s show.
This coming weekend of April 23rd and 24th, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, continues its 80th Birthday Jubilee and 10th consecutive year of classic films. This season, we are saluting the decades that the Landmark Loews Jersey has been entertaining us. This month, we will be presenting some great classic films from the 1960â€™s.
Friday April 23rd at 8:00pm â€" To Kill A Mockingbird (1962)
Starring Gregory Peck, Mary Badham, Philip Alford, Robert Duvall.
Directed by Robert Mulligan. Music by Elmer Bernstein.
A wonderful story of a precocious young tomboy and her brother being raised in rural Georgia of the 1930s by their widowed and highly principled father who, as an attorney, takes on the then-impossible mission of defending a black man accused of raping a white woman. Based on the semi-autobiographical novel by Harper Lee, the movie melds the routines, small triumphs and travails of children growing up with the harsh reality of segregation and prejudice. Lee’s work has become a rite of passage for generations of school children. The movie is among the most successfully realized film interpretations of a novel ever made, and one of the most quietly affecting works ever shown on the screen — comedic, dramatic, insightful, tragic, uplifting — and thoroughly engrossing. Gregory Peck won the Academy Award for Best Actor.
Saturday April 24th at 6:00pm â€" A Hard Days Night (1964)
Starring The Beatles, Wilfrid Brambell, Norman Rossington.
Directed by Richard Lester.
The wild, all-encompassing popularity of The Beatles that exploded across America in late 1963 and ‘64 changed virtually everything about music and pop culture. A Hard Day’s Night was a first attempt to channel some of The Beatles’ popularity toward movie theatre box offices. Remarkably, though the production was decidedly rushed, Director Lester and screenwriter Alun Owen created a musical-comedy-fantasy that managed to perfectly capture the good-naturedly sardonic personas of each of The Beatles while fairly accurately depicting the manic zaniness of the early Beatlemania. The Beatles themselves were very pleased with the results. Of course, the soundtrack rings with some of the Fab Four’s most popular early songs, including “Can’t Buy Me Love,” “And I Love Her,” “I Should Have Known Better,” and the title tune, which was reportedly written overnight by John Lennon and Paul McCartney in response to a plea from the director for a song to match the movie’s title.
Saturday April 24th at 8:15pm â€" The Graduate (1967)
Starring Anne Bancroft, Dustin Hoffman, Katharine Ross.
Directed by Mike Nichols.
(105mins., Color & Panavision)
This is one of a handful of films that managed to speak directly to the baby-boom generation as it was coming of age, and as such contributed several very notable references to our collective popular culture — including the line that summed up the future in one word — “plastic.” But more than forty years after it was made, the movie remains as poignant and funny as ever — greatly entertaining to audiences that came before and after the boomers. In his first major film role, Dustin Hoffman plays a very naive college graduate who is seduced by a middle-aged woman, and then falls in love with her daughter. Contributing immeasurably to the success of the film is the score, much of which was provided by the legendary folk-rock team of Simon and Garfunkel. Their song “Mrs. Robinson,” which refers to Anne Bancroft’s character, is one of the most familiar pieces of the decade, was first heard (in an abbreviated form) in this movie.
If you scroll up to November 15th, you can see a picture of the Vitaphone projector. The picture head is a Simplex Standard with a front of the lens shutter. The sound is a Western Electric optical sound gate (not a sound drum), still with it’s original white light exciter lamp. There is a switch to switch over to the disc sound. Vitaphone discs play at 33 1/3 from the center outward. The projector works, but at the moment is disconnected and moved out of the way to make room for the 70mm Norelco AA that is being installed. The Vitaphone projector was never used for regular screenings. For regular screenings, we use Kinoton FP-20’s.
It’s A Gift was far funnier than I remembered it, and it was a treat seeing a stunning newly restored print on the big Lafayette screen. As always, Pete put on a stupendous show. Looking forward to the remaining shows.
The Graduate will be playing in 2 weeks on Saturday April 24th at the Landmark Loews Jersey in Jersey City. The Lafayette and the Landmark Loews Jersey tries not to run the same film in the same season. While it does not always work out that way, that is the goal.
In addition, I don’t think Nelson is down on The Graduate. His issue, as is mine, is with the AFI which considers it a comedy. While it has comic moments, I would not consider The Graduate a comedy.
This coming weekend of March 26th and 27th, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, continues its 80th Birthday Jubilee and 10th consecutive year of classic films. This season, we are saluting the decades that the Landmark Loews Jersey has been entertaining us. This month, we will be presenting some classic films from the 1950â€™s.
Friday March 26th at 8:00pm â€" Night Of The Hunter (1955)
Starring Robert Mitchum, Shelley Winters, Lillian Gish. Directed by Charles Laughton
Robert Mitchum gives one of his greatest performances as a psychotic, misogynistic and phony preacher who insinuates himself into the family of an executed man with whom he had been imprisoned in order to find the hoard of cash the man had hidden away. All that stands between the brutal Mitchum and the money are the other manâ€™s two young children and the indomitable, scripture-quoting old woman, played magnificently by Lillian Gish, to whom the children turn for help. Gishâ€™s faith, courage and compassion are set in breathtakingly stark contrast against Mitchumâ€™s dark, venal perversity â€" creating one of the screenâ€™s most memorable and successful parables of good vs. evil.
Saturday March 27th at 6:15pm â€" King Creole (1958)
Starring Elvis Presley, Walter Matthau, Carolyn Jones, Dolores Hart. Directed by Michael Curtiz.
In King Creole Elvis Presley displays an acting ability that was only hinted at in many of his later films, giving an entertaining and compelling performance as a young man trying to find himself while finding his way between good and bad choices. Presley plays a high school drop-out working to help support his unemployed father when he falls in with a gang of teenage toughs. But since he can sing, and the owner of a struggling nightclub gives him a chance to go straight and perhaps even make it big. Yet he soon finds himself being pulled into the corrupt world of a local mob boss who runs a successful nightclub and wants Presley to work for him. Presley also has to make a choice between his true love and the good-girl-gone-wrong moll of the mob boss. The film is greatly aided by good performances from Walter Matthau, who plays a very effective heavy as the mob boss, and a pre-â€œAddams Familyâ€ Carolyn Jones as his reluctant moll.
Saturday March 27th at 8:30pm â€" On The Waterfront (1954)
Starring Marlon Brando, Karl Malden, Lee J. Cobb, Rod Steiger, Eva Marie Saint, Martin Balsam.
Directed by Elia Kazan. Written by Bud Schulberg.
â€œOn the Waterfrontâ€ is one of the most powerful narratives ever filmed is due in no small part to the uncanny sense of truth it projects from first frame to last. And this, in turn, is largely due to the remarkable performances of its cast â€" from Marlon Brandoâ€™s extraordinary creation of Malloy, to the smallest nuances of the supporting players. That the movie was famously filmed on location on the real waterfront in Hoboken, N.J. greatly adds to this aura of truth by imparting an authenticity and immediacy that has never been equaled in any other major motion picture: the gritty, violent and strangely claustrophobic world it depicted was no set, but life itself. Leonard Bernstein’s score imparts a very subtle operatic quality to the otherwise hyper-realistic film. The film is an extraordinary mix of coarse and refined elements â€" harsh realism and elegant art fused into a coherent and compelling whole.
â€œOn the Waterfrontâ€ won Oscars for Best Picture, Best Director for Elia Kazan, Best Adapted Screenplay for Budd Schulberg, Best Actor for Brando, Best Supporting Actress for Saint, Best Cinematography, Best Art Direction, and Best Editing. Fifty-six years later, it remains an extraordinary cinematic accomplishment. Donâ€™t miss this chance to see it back on the big screen.
This weekend March 19th thru 21st, The Landmark Loews Jersey in Jersey City New Jersey is hosting a three days of horror-related guests, screenings, vendors.
Convention to include 35MM-film screenings of Night of the Living Dead and Creepshow.
Celebrity guests include George A. Romero, Ken Foree, Adrienne Barbeau, Tom Savini, David Emge, Kyra Schon & more!
The show is a rental, for more information visit the promoter’s web site Saturday Nightmares
This coming weekend of February 26th and 27th, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, continues its 80th Birthday Jubilee and 10th consecutive year of classic films. This season, we are saluting the decades that the Landmark Loews Jersey has been entertaining us. This month, we will be presenting some classic films from the 1940â€™s.
Friday February 26th at 8:00pm â€" White Heat (1949)
Starring James Cagney, Virginia Mayo, Edmond O'Brien.
Directed by Raoul Walsh. (114 minutes, B&W)
James Cagney first became a star in the 1930s as a tough criminal in Warner Bros. Studioâ€™s classic gangster melodramas. He went on, of course, to play a great variety of other roles, ranging from George M. Cohan to the great silent star Lon Chaney, Sr., in dramas, musicals and comedies. But in 1949, Cagney returned one last time to the role of tough guy in â€œWhite Heatâ€ â€" a crime drama that takes the familiar elements of plot, character and theme from his old â€˜30s gangster pictures but transforms them into a kind of Film Noir tragedy. Cagney is Cody Jarrett, a deranged criminal prone to headaches and seizures. His molten temper, feral cunning and mercurial charm are finely calibrated extensions of the doomed gangsters Cagney played a decade before, this time coiled not around a Depression-era impetus of greed or class rivalry, but an Oedipal bond. Cody’s beloved, calculating “Ma” (Margaret Wycherly) is the compass for his every move, her iron will and long shadow acknowledged not only by Cody but by his gang, his restless wife (Virginia Mayo, radiating sensuality and guile), and the undercover cop (Edmond O'Brien) planted in Jarrett’s path. Cagneyâ€™s performance is nothing less than superb as he creates one of the most frighteningly psychotic characters ever seen on screen, a model for the stranger, more brutal outlaws who would dominate crime cinema in the 1960s and 1970s. The fiery, climactic scene has become part of pop culture.
Saturday February 27th at 6:15pm â€" Notorious (1946)
Starring Ingrid Bergman, Cary Grant, Claude Rains.
Directed by Alfred Hitchcock. (101 minutes, B&W)
â€œNotoriousâ€ is a tightly woven and brilliantly sustained mix of romance and suspense that takes remarkable risks with its main characters. Ingrid Bergman, never more radiant or vulnerable, is a flawed heroine: the beautiful daughter of a Nazi spy whoâ€™s garnered a notorious reputation for herself by turning to drink and casual affairs to help forget the shame of her fatherâ€™s infamy. Cary Grant, whose suave screen persona was rarely more hard-edged and even unlikable, is an American agent who uses Bergmanâ€™s affection for him to manipulate her into spying on her fatherâ€™s old Nazi cronies. And Claude Rains is an unlikely villain: a charming Nazi sympathizer who genuinely loves Bergman and seems far more likable than Grant. To this mix, Hitchcock adds some of his most stunning black and white camera work, including a famous tracking shot that begins across a crowded room and ends in a close-up of Bergman’s hand while she secretly holds a key. Several scenes are unusually but very effectively shown from Bergmanâ€™s point of view. Throughout the script, written by legendary screenwriter Ben Hecht, there is the troubling subtext of love and betrayal. Notorious is one of the most effective Noir, or at least Noir-ish films, and is often considered to be Hitchcockâ€™s finest film of the 1940s.
Saturday February 27th at 8:30pm â€" The Third Man (1949)
Starring Orson Welles, Joseph Cotten, Alida Valli, Trevor Howard.
Directed by Carl Reed. Written by Graham Green. (104 minutes, B&W)
One of the greatest Noir movies ever filmed, “The Third Man” sets loyalty, friendship and love against justice and common good in the fractured, cynical setting of defeated and occupied Vienna after World War II. Joseph Cotten is Holly Martins, an alcoholic pulp writer from America whoâ€™s traveled to Austria to visit his old friend Harry Lime (Orson Welles). But when Martins arrives, Lime’s funeral is under way. From Lime’s girlfriend and an occupying British officer Martins learns of allegations of Lime’s involvement in black market racketeering. The idealistic and perhaps naÃ¯ve Martins vows to clear his friend’s reputation. But as he is drawn deeper into postwar intrigue, Martins finds layer upon layer of deception which he desperately tries to sort out. One of the most remarkable aspects of The Third Man is that Welles is only in the last third of the film, yet seems to dominate it throughout. This is a tribute to how cleverly screenwriter Graham Greene builds anticipation through the contradictory information Martins gathers in his search for info about his old friend. Itâ€™s also a tribute to how powerful and widely known Wellesâ€™ screen persona is. Wellesâ€™ long-delayed entrance is one of the most memorable scenes in any film. The movie boasts some of the most evocative cinematography ever filmed, with long shadows, stark lighting, cocked camera angles and exaggerated close-ups that perfectly capture the surreal, off-kilter feel of postwar Europe as well as emphasize the shadowy nature of the story. The zither music that plays throughout is among the most recognized and haunting movie themes.
Looks like a great season, something for everyone.
This coming weekend of January 29th and 30th, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, continues its 80th Birthday Jubilee and 10th consecutive year of classic films with its first screenings of 2010. This season, we are saluting the decades that the Landmark Loews Jersey has been entertaining us, starting with some classic films from the 1930â€™s.
Friday January 29th at 8:00pm â€" The Thin Man (1934)
Starring William Powell & Myrna Loy. Also starring Maureen Oâ€™Sullivan, Nat Pendleton. Cesar Romero.
Directed by W.S. Van Dyke (93 minutes)
This adaptation of Dashiell Hammettâ€™s novel defined the genre of movie that succeeds in the unlikely but exquisitely entertaining mix of mystery and sophisticated comedy. Nick Charles (Powell) is a private investigator who has just retired after marrying wealthy socialite Nora (Loy) â€" only to be goaded by his thrill-seeking bride into investigating the recent disappearance of an inventor. The film succeeds in no small part because of the electric chemistry between Powell and Loy â€" who as Nick and Nora remain one of Hollywoodâ€™s most legendary on-screen couples. Their witty repartee, which often makes them seem more like saucy secret lovers than a married couple, is still great fun to listen to 76 years later. The filmâ€™s stylish Deco sets and wardrobe also gave a much needed taste of glamour to Depression-era audiences. Though originally planned as a â€œB pictureâ€ it proved immensely popular and inspired five sequels plus countless imitations.
Saturday January 30th at 6:30pm â€" Top Hat (1935)
Starring Fred Astaire & Ginger Rogers. Also starring Edward Everett Horton, Helen Broderick, Eric Blore.
Music by Irving Berlin. (99 minutes)
“Top Hat” is classy, Depression-era escapism at its best. If the storyline is a typical mistaken-identity romantic comedy, what puts the movie in a class all its own is the stunning combination of an Irving Berlin score, the incomparable choreography and dance of Fred Astaire, the charismatic screen chemistry between Astarie and Ginger Rogers, and a dynamite supporting cast. (Look for Lucille Ball in a small role.) The Deco-infused sets, plus Mark Sandrichâ€™s deft direction â€" which can best be described as effervescent â€" burnish the luster of â€œTop Hatâ€ to a fine sheen and have made the film the epitome of 1930s glamour.
Saturday January 30th at 8:40pm â€" Gold Diggers Of Broadway 1933
Starring Joan Blondell, Ruby Keeler, Dick Powell, Guy Kibbee, Warren Williams, Ginger Rogers, Sterling Holloway. Choreography by Busby Berkeley. Directed by Mervyn LeRoy. (96minutes)
If Busby Berkeleyâ€™s name is still synonymous with over-the-top musical numbers, â€œGold Diggers of 1933â€ is one of the best showcases of the outrageously lavish choreography, seemingly endless chorus lines, fluid camera work and dizzying overhead compositions that were his hallmark. And in addition to Berkeleyâ€™s signature talent, the movie also boasts an amazing mix of comedy, gritty Depression-era commentary, romance and pre-Production Code sex. A sweet love story between Ruby Keeler and Dick Powell unfolds while unemployed showgirls struggle to survive hard times by pragmatically using their â€œassetsâ€ to charm backers for a new show. Thereâ€™s the cheekily salacious â€œPettinâ€™ in the Parkâ€ number, Berkeley’s jaunty “We’re in the Money” extravaganza that features coin-clad chorus girls and Ginger Rogers singing in Pig Latin, and the downbeat finale “Remember My Forgotten Man” that is firmly rooted in the grim realities of the 1930s. All of this makes â€œGold Diggers of 1933â€ one of the best pre-Production Code musicals, and one of the best remembered movies of the 1930s.
Charlie Daniels GEICO Commercial Filmed At The Landmark Loews Jersey
GEICO Lizard Visits The Landmark Loews Jersey
Bernie Anderson is my personal favorite of all the GTOS organists. I wish they would use him more often at their events. Here is a clip of Bernie Anderson playing the Wonder Morton Theatre Organ at The Landmark Loews Jersey:
Bernie Anderson at The Landmark Loews Jersey
After all, this is The Landmark Loews Jersey thread…
This is how it looked at the end.
On the weekend of December 4th and 5th, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, continues its 80th Birthday Jubilee and 9th consecutive year of classic films with its final screenings of 2009.
Friday December 4th at 8:00pm â€" Holiday Inn (1947)
Starring Bing Crosby, Fred Astaire, Marjorie Reynolds. Music by Irving Berlin. (101mins.)
This great chestnut of a movie has been a holiday tradition for generations. It introduced Irving Berlin’s timeless song “White Christmas” and â€œEaster Paradeâ€, each of which later spawned their own movies. Crosby plays a retired nightclub crooner who buys a Connecticut inn and decides to only open it on holidays, when he stages nightclub-esque revues — which naturally allows for some very memorable song-and-dance numbers. And, of course, the plot includes an amiable rivalry between Crosby and Astaire for Reynold’s affections. The scene in which Crosby first sings “White Christmas” is a very enjoyable part of film history and a great moment in our popular culture.
Don’t miss the chance to see this tradition on the BIG screen.
Saturday December 5th at 7:30pm â€" Modern Times (1936)
Starring Charlie Chaplin & Paulette Goddard. Directed by Charlie Chaplin. (89mins)
In addition to starring and directing, Chaplin wrote the film’s script and arranged the music for the recorded sound track that also included sound effects but no dialogue — this was Chaplin’s last “silent” film. One of Chaplin’s greatest works, it is a hilarious but also poignant satire of the struggles of modern life — as relevant today in the “information age” as it was when new, in the “machine age.” The episodic nature of the plot allows Chaplin to perform some of his most memorable comedic routines, including the iconic scene of Chaplin rolling through the gears of an enormous machine.
This coming weekend of November 20th and 21st, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, will continue its 80th Birthday Jubilee and 9th consecutive year of classic films.
Friday November 20th at 8:00pm â€" Monsieur Verdoux (1947)
Starring Charlie Chaplin. Also starring Mady Correll, Isobel Elsom, Audrey Betz, Ada May and Martha Ray. Directed by Charlie Chaplin. (124mins.)
Chaplin called this film his “cleverest and most brilliant,” but he is certainly not portraying his familiar “Little Tramp.” Here, he plays a suave serial killer who makes his living marrying and murdering lonely rich women. Chaplin turned this shocking conceit into a black comedy that seems surprisingly modern to us today — especially in its presentation of the hypocrisy of societies that condemn murder committed by individuals but glorify war.
Saturday November 21th at 2:00pm â€" For Whom The Bell Tolls (1943)
Starring Gary Cooper, Ingrid Bergman, Akim Tamiroff, Katina Paxinou. Directed by Sam Wood. (157mins.)
Based on the novel by Ernest Hemingway, “For Whom the Bell Tolls” is a romantic drama set against the turbulent tapestry of the Spanish Civil War. Though downplaying the extreme ideological aspects of the war (which Hollywood found uncomfortable), the film is otherwise largely faithful to Hemingway’s writing and boasts excellent performances, torrid love scenes and first-rate Technicolor photography.
Saturday November 21th at 7:30pm â€" Forbidden Planet (1956, CinemaScope)
Starring Walter Pidgeon, Anne Francis, Leslie Nielsen. Directed by Fred Wilcox. (98 mins.)
One of the most famous science fiction movies ever made. A pre-comedy Leslie Nielsen as a space traveler who discovers the planet where expatriate Earth-man Pidgeon has built a one-man empire with his daughter and Robby the Robot — which became a sci-fi icon and progenitor of robotic portrayals on both the big and small screens. Great special effects for the day, the film also boasted lavish use of the wide-screen CinemaScope and Perspecta Stereo.
[size=1]The Landmark Loews Jersey Theatreâ€™s Vitaphone Projector[/size]
One warm summer night in 1978, I was hanging out in the office of The Oritani with a friend who was the relief manager. For years the only part of the marquee that lit up was the back lit side panels announcing the current movies. I mentioned this to him, and he told me that it all worked, they were just under orders not to turn it on to save money on electricity. He opened the breaker box and though some switches, we walked out onto the street, an it was a spectacular site. All the flashing neon and sequencing bulbs in the letters were flashing. It lit up main street for blocks in either direction. I wish I had a camera that night, it was probably the last time the marquee was ever turned totally on.
The Oritani Theatre in 1967 Playing You Only Live Twice
Sunday 11/15/2009 at 3pm at The Landmark Loews Jersey
This Sunday 11/15/2009 at 3pm
Special Screening Commemorates 80th Anniversary of Anne Frank’s Birth and the 50th Anniversary of the Motion Picture Dramatization
Starring Millie Perkins, Joseph Schildkraut, Shelley Winters. Directed by George Stevens.
Celebrating the 80th Anniversary of Anne Frank’s Birth
George Stevens (director of such Hollywood classics as “Shane”, “Giant”, and “The Greatest Story Ever Told”), with the blessing of Otto Frank (Anne’s father and the only surviving member of the Frank family), directed this adaptation of the award-winning stage play based on Anne Frank’s writings, “The Diary of a Young Girl.” In Nazi-occupied Amsterdam, 13-year-old Anne Frank, a German Jew, is forced into hiding in the annex of a building with her family and another family. Struggling to survive while hiding and waiting, all the while hoping and praying for Holland to be liberated by the Allies, Anne’s story details the terror of a life of persecution and reveals the inspiring courage of the human spirit in the face of adversity. Shelley Winters received an Academy Award for her role, which she donated to the Anne Frank Museum in Amsterdam.
The Screening will be hosted by George Stevens, Jr.
>The theater’s new name was named after Nelson Page’s daughter.
The theatre opened under the name ABBY Cinemas in 1976, years before Nelson Page’s daughter was born.
Can we add Jerry Lewis Cinema to the list of previous names?
No, since the theatre opened with the name Cinema 35. While it was intended to be a Jerry Lewis Cinema, the company went bust before it was opened, hence the name change.