Loew's State Theatre

1540 Broadway,
New York, NY 10036

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Showing 201 - 225 of 452 comments

William on October 9, 2007 at 7:30 pm

Howard you posted in the intro. “The theatre was later more sub-divided” and closing date. What was more sub-divided?

Hibi on October 9, 2007 at 7:21 pm

Wasnt the Midland in Kansas City Loews favorite theater? I thought I read that somewhere……..

HowardBHaas on October 9, 2007 at 6:40 pm

Saps, done! For the record, here are the now out of dated opening remarks since replaced:
Originally a single screen theater, the State was twinned in the early 1960’s.

During the late 1990’s, as part of a massive redevelopment of Times Square, the theater was gutted to make way for one of the first US locations of the Virgin Megastore.

Today, movies are still shown at the State, but the theater survives in name only. Some sixty feet below street level, in the basement of the Virgin store, there is a four-screen multiplex, also known as the State.

Mike (saps)
Mike (saps) on September 20, 2007 at 7:13 am

Could someone please fix the opening remarks.

Rory on September 20, 2007 at 1:26 am

Thanks for the photo, Bryan. Times Square may not have been a very save place to visit back in those days, but it sure was an exciting place to see a major new movie. I miss the Loew’s State 1 & 2.

Bill Huelbig
Bill Huelbig on September 7, 2007 at 1:09 am

Someday Radio City will show movies to the public again, even if it’s only for one night. I just hope it’s in my lifetime :)

Rory on September 7, 2007 at 1:06 am

That reminds me… The same Great Aunt I had that took me to see “Beneath” at the Loew’s State 2 (She lived on Staten Island.)sometime later took me to see “A New Leaf” at Radio City Music Hall. Now, that had to be THE best theatre to see a movie at in Manhattan. Just spectacular. Imagine what it must have been like when “King Kong” was there!

Bill Huelbig
Bill Huelbig on September 7, 2007 at 12:58 am

Rory: I had a similar reaction after seeing “Beneath”. My cousin and I went to see “The Out-of-Towners” at Radio City Music Hall later that day. When we got within sight of the theater my cousin said, “There’s Radio City – before the apes got to it!”

Rory on September 7, 2007 at 12:36 am

Bill: Thanks for the response. I have all the “Apes” films on DVD but I really can’t stand watching any but the original, which remains THE favorite film of my childhood, though I only saw it originally at the Wantagh Theatre on the Island. I wish I’d seen it first at the Capitol. The strangest thing for me, as I remember, after seeing “Beneath” at the Loew’s State 2 was coming out into New York City and taking a bus back down to the Staten Island Ferry and looking at the streets of Manhattan and thinking, “This is all going to be a buried ruin in two thousand years!” Ah, the suspension of disbelief you had as a kid at the movies.

Bill Huelbig
Bill Huelbig on September 7, 2007 at 12:19 am

Rory: I too saw “Beneath” at the Loew’s State 2. What a comedown from the 1968 original, but it was good for a few laughs. More than a few, now that I look back on it. Even the closing credits were funny: Victor Buono was listed as “Fat Man” and black actor Don Pedro Colley was billed as “Negro”.

Mike (saps)
Mike (saps) on September 6, 2007 at 5:09 pm

The opening description needs to be re-written as it seems to contain errors in every paragraph — the twinning was later than the early 60s, the theater wasn’t gutted, it was razed, and the woebegone replacement State is already history.

Rory on September 6, 2007 at 3:45 pm

I remember being taken into Manhattan in June 1970 to see “Beneath the Planet of the Apes” at Loew’s State 2. I was a huge fan of the original “Apes” from 1968, but was too young then (8 years old) to have enough brains to get myself taken to the Capitol Theatre where the original opened. Anyway, my memory of the Loew’s State 2 was that you could definitely tell a much larger theatre had been cut in two. I do remember the ceiling being relately low, as someone mentioned above. Too bad they had to do that to what must have been a grand place. I also recall seeing, before “Beneath” started, the trailer for “Kelly’s Heroes.” I’m not a big fan of “Beneath” these days, though the original “Apes” is still my favorite film, but I am a big fan of “Kelly’s Heroes.” I wish I’d seen that one instead!

RobertR on August 18, 2007 at 9:53 pm

Premiering at Loew’s State, the Beacon and a theatre near you
View link

deleted user
[Deleted] on May 16, 2007 at 11:28 pm

16 May 2007:
Ziegfeld Theatre enthustiasts,
You have the opportunity to capture theatre and film history at the Walter Reade Theatre [Lincoln Center] at the end of this month. Being presented is the Stanley Kubrick’s BARRY LYNDON which showcased at the Ziegfeld in December 1975. In note, I recollect Rex Reed, lighted pen to page and noting the showing with Intermission my questioning of his annoyance of the film which he gave an excellent review thereafter, in publication. Leon Vitali (Lord Bullington of the film) will be present at the theatre for the 35mm positive struck from the internegative. In addition, John Schselinger’s DAY OF THE LOCUST, which premiered at the Cinema I, will be presented at two performances with William Atherton (Todd Hackett of the film) in a question and answer session. Both films are American/UK cinema masterpieces. I advise your particaption at these events as a mark of excellence to yourselves and the brilliant recollections that serve as the base of all that you aspire toward. Your performance checks are:
View link
for DAY OF THE LOCUST (the Day Hollywood collapsed and fell into an $88,000 hole – Esquire, September 1974)
and the cinematic masterwork filmed without artificial lighting – BARRY LYNDON
View link
1975 was a critical year in American film.
When you screen the films at Walter Reade, obtain the DVDs of both films for better analysis.
If you don’t have access;
DAY OF THE LOCUST is Fri May 25: 3:30
Sat May 26: 6
Q&A with William Atherton
May 27: 3 & 7
May 28: 3 & 7
May 29: 3 & 7


Don Griffiths
Cinema Centre CEO

William on April 19, 2007 at 9:07 pm

Pauls right that’s the Embassy 2/¾.

Paul Noble
Paul Noble on April 19, 2007 at 7:48 pm

This is the Embassy 2/¾, better known by its previously known names DeMille and Mayfair.

Life's Too Short
Life's Too Short on April 19, 2007 at 7:41 pm

OK: So I am guessing one of you guys must know the answer to this mystery:

View link

I remember seeing this building while it was still running. But I will never remember the name.

JohnMessick on April 8, 2007 at 11:28 pm

Does anyone remember a Mr. Pearl that was a manager at the Loew’s State sometime in the 1930’s or 1940’s?

William on February 16, 2007 at 1:45 pm

Lost Memory, your last photo (post Jan 7) dates from after March 18, 1944. Across the street from the State at the Astor Theatre the film playing is “See Here, Private Hargrove” (MGM), which opened in NYC on March 18th, 1944 at the Astor.

BrooklynJim on November 29, 2006 at 8:20 pm

Thx, Jerry & William. I had forgotten to mention that the late 1952 U/I Newsreel clip of “Thunder Bay” featured the marquee of Loew’s State in the background, clear as day. Stereophonic sound, as noted elsewhere for the “GWTW” re-release, was new for the ‘53-'54 era.

Will check further on “The Robe.”

William on November 28, 2006 at 4:37 pm

Also remember that Fox had the the patients on the process. The other studios had to rent the lenses for their productions from Fox at the time. And MGM did the same type of cropping for the 1954 re-release of “Gone With the Wind” at the State for a Widescreen presentation.

42ndStreetMemories on November 28, 2006 at 4:13 pm


This is from IMDB…..

Although filmed in the standard 1.37-1 aspect ratio, Thunder Bay was chosen by Universal-International as its first wide screen feature, accomplishing this by cropping the top and bottom and projecting it at 1.85-1 at Loew’s State Theatre in New York City, as well as other sites. Its initial presentation also marked UI’s first use of directional stereophonic sound. jerry

BrooklynJim on November 28, 2006 at 3:08 pm

Catching up on a pair of August posts…

1) EdSolero, based on your 8/6 post, I viewed a newly-acquired DVD of Universal-International Newsreels last evening. One dated 7-17-53 gave us an answer to your “Kill the movie tax” query. Following headline coverage of the Korean War Truce, this particular segment had to do with the repeal of the movie tax by Congress. The repeal bill was introduced by Rep. Noah Mason, and the whopping 20% tax (!) was dropped as harmful to the financial well-being of small- to medium-size theater operations throughout the nation. In the filmed interview, Mason went on to state that the loss of the tax was in no way harmful to the U.S. Treasury.

2) 42nd Street Memories * Jerry Kovar mentioned James Stewart’s “Thunder Bay” in his 8/15 post. This movie showed up on an end-of-1952 U/I newsreel clip which credited it as being the first movie produced in CinemaScope. Here on the pages of CT and also written elsewhere, that distinction always seemed to go to “The Robe.” Is there somehow a very fine line between production and release? Which debuted first?

deleted user
[Deleted] on November 16, 2006 at 8:39 pm

Thanks for the question. It is a test of the restored 70mm Norelco projectors that have been in storage (origin St. James Theatre, Asbury Park, NJ installed at the theatre in July 1958 and removed to Cinema Centre storage in May 1972 – first 70mm film at that location being SOUTH PACIFIC and last 70mm film being CONCERT FOR BANGLADESH). The print is a special archival item privately screened at the St. James facility in July 1969. As you may be aware (or not) the 1969 release of BEN-HUR at the Palace in New York was a trimmed down version and fashioned for standard 70mm exhibition at said theatre and several others. It contained no Overture, Intermission or Entr'acte. Several 35mm scope prints of this edition were made also. As the demand for this film was high, MGM supplied theatres with remaining 35mm mag/optical prints previously struck in 1960 and 1961. For the local release, Monmouth County, NJ area, in 1970, after “raodshow”, the Lyric Theatre, Asbury Park exhibited the full 1960 mag/optical print using their stereo penthouse and channeling the 4 tracks to the one and only center behind the screen speaker. Why you may ask, part of Walter Reade, Jr. compliance with 20th Century-Fox directives of using the magnetic tracks (legal situation presented and resolved). The new 35mm trimmed print of BEN-HUR made it’s debut at the Algonquin Theatre, Manasquan, NJ. The 1969 trim was very interesting and even the chariot race was a few turn arounds shorter. For the 16mm standard and scope release for non-theatrical exhibition, Films Incorporated offered both versions. As you may have note, before a film was offered to one of the major contracted networks, it would be released again in the theatre. As for BEN-HUR, it hit CBS on February 1971 complete version, minus the Overture, etc. The same was done by 20th-Fox for CLEOPATRA in 1971. A trimmed 70mm-stereo version was exhibited at the Ziegfeld, New York following a subsequent ABC-TV presentation (complete with marble slab semi-nude Taylor scene) in 1972. Films Incorporated again offred both versions and the first video release of CLEOPATRA, contracted to Magnetic Video, which became CBS/Fox video, was the trimmed version. This trimmed version was also used for WOR-TV “Million Dollar Movie” presentation and also found itself into HBO and Cinemax presentations. On CLEOPATRA, I saw the first cut of the film as two separate entities CAESAR AND CLEOPATRA and ANTONY AND CLEOPATRA. Although they were magnificent, I do prefer the cut that finally premiered at the Rivoli, New York. The first part had Cleopatra seen before the “rug presentation to Caesar” and that scene was not as powerful as in the “premiere” cut. For historical curiosity, if available, they should be released. However, the current available print, and video release, should remain standard, even when the end of the DVD special release misplaced the Entr'acte at the end of the First Acte. There are so many interesting items on theatres, exhibition, prints that I have experienced. I find that Cinema Treasures offers a vast venue for those discovering these wonderful theatres and individual involved in the mainstream of their operations (the personal recollections). I and yourself have seen a revival of extreme interest in theatres being reborn for the exhibition of cinematic masterpieces in their original form, and not just revival houses. The public and cinema enthusiasts are hungry for a theatre and film that will compliment their inward dreams, hopes, aspirations, etc. broadly presented in original form and under ideal situations. For there is a case in point on my part – The Paramount Theatre in Long Branch, NJ – Spanish/Moorish – used it for several screenings after it’s closing in September 1959. I pursued the issue of having this theatre, enthusiatically in 1975, after the demise of the Mayfair and St.James Theatres, Asbury Park, both of which, I was the exclusive archival photographer of their unfortunate destruction, to become a film theatre completely restored to its 1931 splendour, exhibiting 70mm, 35mm flat/scope, mag/op and curve-screen three-panel and 70mm curve-screen films. Now the dreams starts to become a reality from the proposal to the City of Long Branch in 1997 and the final reality in 2008. I am currently overlooking a delicate restoration and preservation of Samuel Bronston’s CINERAMA CIRCUS WORLD and have moved forward to examining an extraordinary original print of George Stevens' THE GREATEST STORY EVER TOLD with total Alfred Newman score and no Verdi or Handel replacements (including the so-called ROBE crucfixion sequences for “The Resurrection of Lazarus” that leads to Intermission. GREATEST STORY was not intented as entertainment or a “preach to you” film. As envisioned, and is evident in the scroll up “parchment” titles, it is a flowing series of meditations – Jesus of Nazareth" – a “Triumph of the Spirit of Humanity” production. There never was a 260 minute version. I screened the assembled fine cut December 1964 and attended the World Premiere in February 1965. Was I expecting a Samuel Bronston KING OF KINGS? No! The film is only workable and has it’s impact in 70mm Cinerama, just as at the Warner Cinerama – as an incredible experience. Fact! The contemplative nature of George Stevens' GREATEST STORY drove the vision of Stanley Kubrick’s 2001: a space Odyssey. Again thanks, for the comment Mr. Solero for people like yourself will bring about great expereinces who those to relive and those to discover. My gratitude again.

Ed Solero
Ed Solero on November 16, 2006 at 1:06 pm

Archives… What exactly does “test” screening mean? A test of the Library’s 70mm equipment? A test of the print’s quality? Is it a vintage print that has been cleaned up or a newly struck print from restored elements? My curiosity is piqued.