After a month with “The Boatniks,” which grossed below expectations for a new Disney release, the Ziegfeld returned to revival mode for what was certainly one of the lengthiest double bills ever assembled. But Variety reported an opening week’s gross of a mere $12,000.
No efforts were made to connect the melodrama’s distribution to the Wednesday that starts the religious observance of Lent, which in 2020 occurs today (February 26th).
Booked to take advantage of federal holidays honoring Abraham Lincoln (2/12) and George Washington (2/22), the animated feature went on to a record-breaking four-week engagement, and an immediate move-over to the RKO Boston (with different stage show).
The Disney comedy was the first NEW booking for the Ziegfeld since the theatre debuted with “Marooned” in December of the previous year. After a disappointing roadshow experience with “Marooned,” the Ziegfeld had offered a series of revivals, most recently with the two-part Russian version of “War and Peace.”
Less than a year later, on January 14th, 1972, “Agee” was dropped from the names, with Cine I and Cine II now catering to Hispanic audiences. Cine I opened with “Siempre te Amare” and Cine II offered Avco-Embassy’s “Stiletto” with Spanish subtitles.
An internet database claims that the Superscope/stereophonic sound edition of “Fantasia” was first released in 1956, which might explain this 1963 booking. Dating back perhaps to “Gone With the Wind,” it was believed that major movies could reach entirely new audiences by being reissued every seven years.
These seats, which are duplicated on the auditorium’s right wall, are the closest that the mezzanine level gets to the stage, but give a distorted view of the proceedings.
In later years, the supernatural comedy was often reissued as part of a double bill with Alexander Korda’s spectacular “Things to Come,” which had originally debuted at the Rivoli in 1936. Ad displayed here
A major exhibition honoring Bill Graham, who turned the former Commodore into a rock palace known as Fillmore East, is currently on view at the New York Historical Society. More details here
“Me and the Colonel” opened in NYC in late August, 1958, for the Labor Day holiday, and entered national release in October of that year. This photo could not have been taken in 1957.
After a month with “The Boatniks,” which grossed below expectations for a new Disney release, the Ziegfeld returned to revival mode for what was certainly one of the lengthiest double bills ever assembled. But Variety reported an opening week’s gross of a mere $12,000.
No efforts were made to connect the melodrama’s distribution to the Wednesday that starts the religious observance of Lent, which in 2020 occurs today (February 26th).
Technicolor trailer for the Warner Brothers release can be viewed here
Booked to take advantage of federal holidays honoring Abraham Lincoln (2/12) and George Washington (2/22), the animated feature went on to a record-breaking four-week engagement, and an immediate move-over to the RKO Boston (with different stage show).
And all for 21 cents until 6:00 PM.
The Disney comedy was the first NEW booking for the Ziegfeld since the theatre debuted with “Marooned” in December of the previous year. After a disappointing roadshow experience with “Marooned,” the Ziegfeld had offered a series of revivals, most recently with the two-part Russian version of “War and Peace.”
Glen Oaks listed in top section with “Cotton Comes to Harlem.”
Less than a year later, on January 14th, 1972, “Agee” was dropped from the names, with Cine I and Cine II now catering to Hispanic audiences. Cine I opened with “Siempre te Amare” and Cine II offered Avco-Embassy’s “Stiletto” with Spanish subtitles.
This was just before a three-day holiday weekend for the Presidents' Day of that year.
An internet database claims that the Superscope/stereophonic sound edition of “Fantasia” was first released in 1956, which might explain this 1963 booking. Dating back perhaps to “Gone With the Wind,” it was believed that major movies could reach entirely new audiences by being reissued every seven years.
Superscope was an anamorphic process similar to CinemaScope.
Usherette Susan Tobin was assigned to brewing and serving free coffee to patrons in the Trylon’s modernistic lounge.
Shown are part of the all-female ushering staff employed during the WWII period.
A photo and vintage recording of Henrietta Kamern can be found here
These seats, which are duplicated on the auditorium’s right wall, are the closest that the mezzanine level gets to the stage, but give a distorted view of the proceedings.
At the time, Brunswick was one of America’s “big three” recording companies, along with Victor and Columbia.
Another news article on closure in December, 2001 can be viewed here
An update on preparations for the Regal multiplex, which will now have more screens than previously announced, can be found here
In later years, the supernatural comedy was often reissued as part of a double bill with Alexander Korda’s spectacular “Things to Come,” which had originally debuted at the Rivoli in 1936. Ad displayed here
Advance ad published on February 15th, 1960, for opening on March 12th. Reserved locations were only in the first mezzanine, which had 944 seats.
Her name was “Judy,” not “July”.
Top ticket price of $7.50 would be equivalent to about $38.00 in 2020.
A major exhibition honoring Bill Graham, who turned the former Commodore into a rock palace known as Fillmore East, is currently on view at the New York Historical Society. More details here
“Me and the Colonel” opened in NYC in late August, 1958, for the Labor Day holiday, and entered national release in October of that year. This photo could not have been taken in 1957.
Both were gearing up for the next national holiday on February 22nd, which would celebrate the birth and historical importance of George Washington.