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Boris Karloff’s first feature in color used some of the lavish sets and costumes created for Universal’s 1943 Technicolor version of “Phantom of the Opera.”
“Baby Doll” opened that night with a gala screening and dinner/dance for the benefit of the Actors' Studio. Continuous performances started at the Victoria the next day.
Elevated subway pillars holding the sailor’s hammock in the 1941 image are still intact. Since this color photo was taken, Woodhaven Manor has been totally renovated inside and out.
To promote an upcoming Abbott & Costello comedy, a sailor’s hammock was attached to pillars of the elevated subway in front of the Willard. At peak times, an usher in naval uniform nested inside.
Sergei Eisenstein’s own drawing of the title character was used for the ad.
On December 15th, 1955 returned to a stage/screen policy after dropping the format in September 1953 to focus on CinemaScope features only, starting with “The Robe.”
This had no connection with the Paramount Theatre. It was one of two screening rooms in the home office of Paramount Pictures Corporation in the Paramount Building at 1501 Broadway. This one on the 10th floor was the smaller of the two and used mainly by the International Department. The larger one on the 9th floor was used for executive screenings
and press showings.
Bette Davis and Glenn Ford.
On opening day only, elderly May Robson, who acted the title role in Frank Capra’s B&W production, made guest appearances during the stage revues at 3:45 and 7:15 PM.
“King of Jazz” opened at the Roxy Theatre on May 2nd. A glimpse of the Roxyettes performing in the Technicolor musical can be viewed here
Fox neglected to mention that it was the last day of a one-week engagement. “Paddy” opened on August 24th, and was replaced on August 31st by RKO’s “One Man’s Journey” (and new stage revue).
“A date which will live in infamy” in the words of President Franklin D. Roosevelt.
The Universal chiller was preceded at the Roxy by “The Invisible Man” in November, 1933. Ad here
By this time, Markert had 32 Roxyettes in residence at the Roxy Theatre, double their original sixteen.
Noise was never a problem because the Valencia had a long lobby that connected the Jamaica Avenue entrance to the rear of the auditorium. Also, the 168th Street Station was the Queens terminal for the Jamaica Avenue line, so trains were not running at high speeds.
This was a rare Columbia Pictures booking for the Roxy, which had a corporate connection to 20th Century-Fox similar to the Capitol’s with MGM and the Paramount’s with Paramount Pictures. Such favoritism was one of the main reasons for the Federal Anti-Trust Decree that became effective in 1949 but wasn’t fully carried out until the mid-1950s.
The Metropolitan with “The Magnificent Seven” was Loew’s Metropolitan in downtown Brooklyn, NOT this Metropolitan.
Do children pay full price for “Luxury Loungers?” What would be the total admission cost for two adults and two children to sit in that section?
This was the world premiere engagement for the Technicolor biopic of composer Jerome Kern, who died in November, 1945.
This appears to be a “staged” photo for advertising purposes, and not an actual film premiere at the Carthay Circle.
A portion of the box office takings for the double reissue package was donated to the Damon Runyon Cancer Fund, which had been formed by the revered writer’s close friend, Walter Winchell.
And the “SNEAK” was ???
Local residents received free passes for contributing 30,000 pounds of “scrap” to ease wartime shortages.
Newcomer Joan Fontaine portrayed the title role in the B&W musical. Critics and public alike shouted “Bring back Ginger.”
This shows the Loew’s State in downtown Los Angeles. The photo can be found with descriptive caption on page 45 in Exhibitors Herald, issue of August 16th 1924. “Dallas” should move it to its correct place at CT.