Hundreds of people were killed and more than a million left homeless by the “Great Flood” of the Ohio River in January and early February of that year.
With two such different types of films as “Life Begins at 8:30” and “Tarzan Triumphs,” the circuit left it up to managers to decide which should get top billing in their areas. In the scheduling of double bills, there had to be a “main feature” because the last complete show of the day was expected to end with it. Experiments at reversing that order, if only on weekday nights, had proved unpopular.
Continuous performances started the next day. The Capitol had dropped stage presentations in 1952, after reviving them in 1943 following a suspension that began in 1935.
The infant Ziegfeld was already having booking problems, offering this special event for four weeks prior to that year’s “Oscar” telecast on April 7th.
The B&W melodrama was Kirk Douglas’s fourth film to be shown at Radio City Music Hall, preceded, in chronological order, by “A Letter to Three Wives,” “Young Man With a Horn,” and “The Glass Menagerie.”
Kirk Douglas’s breakthrough movie, “Champion,” opened its NYC premiere engagement at Brandt’s Globe on April 9th, 1949. Douglas appeared in person for the first two performances that day, with doors opening at 8:30 AM. Ad displayed here
According to a review in weekly Variety at the time, Columbia’s B&W melodrama “Whispering Enemies” filled the gaps between stage performances. With Lucky Millinder & Band set to follow, the Apollo would be spending more on “big names” to attract tourists coming to New York for the soon-to-open World’s Fair.
RKO patrons could enjoy two consecutive weeks of main features in Technicolor, a rare happening due to wartime rationing of color film stock. On the same day, the rival Loew’s circuit had only two of its lesser theatres with a color feature, “Springtime in the Rockies,” which had actually started its neighborhood runs on the RKO circuit. Ad displayed here
Presenting Noel Coward’s highly-acclaimed “In Which We Serve” as a single feature, with a Disney cartoon and other shorts in support…Many theatres were opening early due to winter recesses at schools.
Ms.Hepburn is standing in front of the Astor Theatre and apparently gazing at the Loew’s Home Office Building at 1540 Broadway, which included the entrance to Loew’s State.
Although Major Edward Bowes continued as managing director, the owner of the Capitol had hired the innovative showman Samuel Rothafel to improve the quality and diversity of stage presentations and film bookings. The “Selznick” was producer/distributor Lewis J. Selznick, whose sons David and Myron would become major players in the Hollywood industry of the sound era.
“ANOTHER CHANCE AT LIFE FOR RKO KEITH’S…New Proposal to preserve landmarks, add hotel, restaurant and more” are the headlines for a news report in the latest weekly issue of Queens Chronicle. Full article here
This was part of the stage support for Universal’s silent feature, “Smouldering Fires.” The Capitol’s spectacular architecture and presentations had brought a business boom to the neighborhood, which was about eleven miles from midtown Chicago.
Hundreds of people were killed and more than a million left homeless by the “Great Flood” of the Ohio River in January and early February of that year.
With two such different types of films as “Life Begins at 8:30” and “Tarzan Triumphs,” the circuit left it up to managers to decide which should get top billing in their areas. In the scheduling of double bills, there had to be a “main feature” because the last complete show of the day was expected to end with it. Experiments at reversing that order, if only on weekday nights, had proved unpopular.
This is an ad for the U.S. Theatre in Paterson, NJ, which has a CT listing here
Continuous performances started the next day. The Capitol had dropped stage presentations in 1952, after reviving them in 1943 following a suspension that began in 1935.
Triboro offering “Any Number Can Play” & “Some of the Best”…This was a time when home TV was starting to decimate attendance at neighborhood cinemas.
The Kings also projected the 3-D “Sangaree” on its newly installed Panoramic Wide Screen.
Since the Strand/Warner’s conversion to Cinerama, the Paramount Theatre had become a frequent showcase for WB releases.
The infant Ziegfeld was already having booking problems, offering this special event for four weeks prior to that year’s “Oscar” telecast on April 7th.
The B&W melodrama was Kirk Douglas’s fourth film to be shown at Radio City Music Hall, preceded, in chronological order, by “A Letter to Three Wives,” “Young Man With a Horn,” and “The Glass Menagerie.”
Kirk Douglas’s breakthrough movie, “Champion,” opened its NYC premiere engagement at Brandt’s Globe on April 9th, 1949. Douglas appeared in person for the first two performances that day, with doors opening at 8:30 AM. Ad displayed here
If text is to be believed, the Ziegfeld’s screen was half the width of that entire block of West 54th Street between Sixth and Seventh Avenues!
This was apparently a non-movie event, with Sports Illustrated renting the Ziegfeld for one night for the magazine’s annual awards ceremony.
According to a review in weekly Variety at the time, Columbia’s B&W melodrama “Whispering Enemies” filled the gaps between stage performances. With Lucky Millinder & Band set to follow, the Apollo would be spending more on “big names” to attract tourists coming to New York for the soon-to-open World’s Fair.
RKO patrons could enjoy two consecutive weeks of main features in Technicolor, a rare happening due to wartime rationing of color film stock. On the same day, the rival Loew’s circuit had only two of its lesser theatres with a color feature, “Springtime in the Rockies,” which had actually started its neighborhood runs on the RKO circuit. Ad displayed here
Presenting Noel Coward’s highly-acclaimed “In Which We Serve” as a single feature, with a Disney cartoon and other shorts in support…Many theatres were opening early due to winter recesses at schools.
Ms.Hepburn is standing in front of the Astor Theatre and apparently gazing at the Loew’s Home Office Building at 1540 Broadway, which included the entrance to Loew’s State.
Although Major Edward Bowes continued as managing director, the owner of the Capitol had hired the innovative showman Samuel Rothafel to improve the quality and diversity of stage presentations and film bookings. The “Selznick” was producer/distributor Lewis J. Selznick, whose sons David and Myron would become major players in the Hollywood industry of the sound era.
“A Letter to Three Wives” had been circulating since January, starting with a premiere engagement at Radio City Music Hall.
The B&W collegiate musical marked the feature debut of Judy Garland.
Date was that year’s federal holiday honoring Christopher Columbus.
“ANOTHER CHANCE AT LIFE FOR RKO KEITH’S…New Proposal to preserve landmarks, add hotel, restaurant and more” are the headlines for a news report in the latest weekly issue of Queens Chronicle. Full article here
Opened on the day after the gala launching of Charles Chaplin’s “Modern Times” at the Rivoli Theatre.
This was the world premiere engagement for the instant classic, which opened with a gala performance on the night of February 5th, 1936.
This was part of the stage support for Universal’s silent feature, “Smouldering Fires.” The Capitol’s spectacular architecture and presentations had brought a business boom to the neighborhood, which was about eleven miles from midtown Chicago.
More than a decade before Greta Garbo, Alla Nazimova was a singular sensation in a silent version of the classic heart breaker.