The first neighborhood release of the DeMille epic coincided with the Easter holiday season, and also included the Brooklyn Paramount, which was exclusive for that borough.
This was the most boring and pretentious of any movie that I saw before or since. And with a running time of 87 minutes, it was probably the shortest feature ever presented with a reserved-seat roadshow policy.
The B&W melodrama was a rare Hollywood “indie” booking for the Paramount Theatre, distributed by World Wide Pictures through branch offices of Fox Film Corporation.
Opened on April 24th, 1969, following a lengthy run of the Easter Holiday Show with “The Love Bug” on screen…In the intervening decades, “Belgium” leading actor Ian McShane has become a major international star due to television work in Great Britain and the USA.
In Brooklyn that holiday season, Loew’s Met had to compete not only with Alan Freed’s “Jubilee of Stars” on the Brooklyn Paramount’s stage, but also a Rhythm & Blues revue at the Empire Theatre in Bushwick.
Variety reported that the one-week booking grossed a “terrific” $40,000, which was twice the $20,000 registered the previous stanza with a double bill of “Up in Central Park” and “Fighting Mad.”
This was a subsequent-run booking, following Brooklyn premiere showings on the Loew’s circuit starting with the downtown Metropolitan and then to the other Loew’s neighborhood sites.
The title of the main feature had been changed from “Revolt of the Zombies” pending settlement of a legal dispute with another producer who claimed to have exclusive rights to the “Z” word.
Management claimed 6,200 seats were available for each complete show, with tickets being sold at six box offices. One thousand of those seats were in the premium-priced mezzanine.
When Fabian assumed management of the Fox and Brooklyn Paramount, the Strand was reduced to move-overs from the two larger theatres, exploitation packages, and occasional stage/screen presentations.
This was the Easter Sunday of that year. “King Kong” was direct from its shared premiere at the two Radio City showplaces. Prior to the Music Hall, “Cavalcade” had a reserved-seat engagement on Broadway at the Gaiety Theatre.
Randolph Theatre listed in top left corner with a Blanche Sweet sizzler.
Screen feature was Universal-International’s “Girls in the Night,” a B&W melodrama about juvenile delinquency.
By that time, Brandt and Trans-Lux had a corporate connection, but were advertised and promoted separately.
The first neighborhood release of the DeMille epic coincided with the Easter holiday season, and also included the Brooklyn Paramount, which was exclusive for that borough.
The animated feature was still running in the Loop at the Garrick Theatre, following its premiere engagement at the RKO Palace.
Newspaper ad for opening day of October 27th, 1938 displayed here
Debuted with an invitational gala on the night of May 14th, 1969, with reserved-seat roadshow policy starting the next day.
This was the most boring and pretentious of any movie that I saw before or since. And with a running time of 87 minutes, it was probably the shortest feature ever presented with a reserved-seat roadshow policy.
The B&W melodrama was a rare Hollywood “indie” booking for the Paramount Theatre, distributed by World Wide Pictures through branch offices of Fox Film Corporation.
Opened on April 24th, 1969, following a lengthy run of the Easter Holiday Show with “The Love Bug” on screen…In the intervening decades, “Belgium” leading actor Ian McShane has become a major international star due to television work in Great Britain and the USA.
In Brooklyn that holiday season, Loew’s Met had to compete not only with Alan Freed’s “Jubilee of Stars” on the Brooklyn Paramount’s stage, but also a Rhythm & Blues revue at the Empire Theatre in Bushwick.
Easter Sunday fell on April 21st in that year, the same configuration as in 2019.
Opened on April 20th, 1935, the day before Easter Sunday of that year. An alternate ad is displayed here
Opened on April 17th, 1965, the day before the Easter Sunday of that year.
With “Atragon” on screen, the 9-day booking opened on April 17th, 1965, the day before Easter Sunday.
The supporting John Wayne feature was originally released in 1944.
Variety reported that the one-week booking grossed a “terrific” $40,000, which was twice the $20,000 registered the previous stanza with a double bill of “Up in Central Park” and “Fighting Mad.”
This was a subsequent-run booking, following Brooklyn premiere showings on the Loew’s circuit starting with the downtown Metropolitan and then to the other Loew’s neighborhood sites.
With the world premiere of “Cardinal Richelieu” on screen, the Easter holiday presentation opened on April 18th, 1935. Ad displayed here
The title of the main feature had been changed from “Revolt of the Zombies” pending settlement of a legal dispute with another producer who claimed to have exclusive rights to the “Z” word.
Management claimed 6,200 seats were available for each complete show, with tickets being sold at six box offices. One thousand of those seats were in the premium-priced mezzanine.
When Fabian assumed management of the Fox and Brooklyn Paramount, the Strand was reduced to move-overs from the two larger theatres, exploitation packages, and occasional stage/screen presentations.
This was the Easter Sunday of that year. “King Kong” was direct from its shared premiere at the two Radio City showplaces. Prior to the Music Hall, “Cavalcade” had a reserved-seat engagement on Broadway at the Gaiety Theatre.
This was three days before the Easter Sunday of that year.
Who knew that in just a few years time, the comedy duo and the Lopez band singer would join the ranks of Hollywood’s most popular screen stars?