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The screening room at the nearby Nelson-Atkins Museum of Art will be re-named as the Tivoli, scheduled for an October 21, 2019 contributor’s re-opening featuring Keaton’s THE GENERAL (admittedly a very funny but rather over-utilized silent-era war horse; my own vote would have been for the more manic and personable SEVEN CHANCES). No word on the digital projector model type to be installed, or if the reported upgrades will include a multi-channel sound system, or exactly how regularly connected this new version will be to legitimate commercial and classic cinema. There are several KC news stories on this now available to read online; page creator will need to determine if this ‘new’ Tivoli merits its own CT page or changing the address and status for this one.
The Oklahoman story yesterday reported the North Park has ceased operations (it had a roadside marquee with all the current films it was showing but I had noticed on a recent OKC visit the sign was blank). Page creator may want to change this theater’s status to ‘closed.’
This theater stopped advertising movies in either of St. Louis' largest newspapers on Wednesday, January 16, 1974, with Fred Williamson in THAT MAN BOLT.
In response to bigrose’s inquiry of what was showing at the Ambassador the extraordinary night of Tuesday, August 14, 1945, the theater itself was having quite a stacked marquee that day. In addition to its regular double-feature of teen star Peggy Ann Garner in JUNIOR MISS and Gloria Jean & WIZARD OF OZ canine Toto in EASY TO LOOK AT, there was a 8:30pm sneak preview of Cornel Wilde in A THOUSAND AND ONE NIGHTS along with the recent Columbia musical-comedy TEN CENTS A DANCE (not to be confused with a 1931 version starring Barbara Stanwyck).
Since it appears that many downtown St. Louis theaters, including the Ambassador, had gone towards blaxploitation-genre films during the 1970s, and a CT contributor going by the name ‘Noir’ on several theater pages here had opinions as to why this had occurred, I would also refer to a article in the St. Louis Post-Dispatch, “Black Trend in City Theaters,” from the Sunday, January 2, 1972 edition, pp. 4I. Although ultimately the article presents nothing new, it does quote local theater company staff and discusses the wider range of African-American film types and personnel that were then being introduced into the commercial film market.
Temporarily closed/temporarily retired the name “Tivoli” on Monday, September 1, 1969, with Sidney Poitier in THE LOST MAN and Richard Widmark in MADIGAN. Re-opened on Monday, September 15, 1969 as the Magic Lantern with a “New British Talent” festival featuring the Peter Collinson films THE PENTHOUSE and UP THE JUNCTION. (St. Louis Globe-Democrat)
Architect: Joseph D. True, Jr. Construction: Don Mitchell. The business-pages opening announcement stated the Village would be “the first indoor theatre constructed at Bloomington in many years.” (St. Louis Globe-Democrat, Sat.-Sun., September 13-14, 1969, pp. 2E)
JAlex appears to be correct with the Sunday ½/1972 closing date of the Gravois, finishing off with a Roger Corman triple-feature of THE RAVEN, HOUSE OF USHER, and PIT & THE PENDULUM. (St. Louis Post-Dispatch)
For those with Netflix the Sepulveda is (quickly) visible during the introductory ‘bus ride’ in the newly-released Orson Welles film THE OTHER SIDE OF THE WIND. (A different portion of the film was reportedly photographed inside of the nearby Reseda Drive-In.)
Some of this info may have been bouncing around on somebody’s Facebook page the past few days but—Wichita Eagle (KC Star also mirroring on their website) reports today the Starlite is now closed for good. (Page creator can change status to ‘Closed’ perhaps?) Link here
The highway sign for this theater is visible during an establishing long-shot for Sheriff Justice’s (Jackie Gleason) “F.O.” speech to an Alabama state trooper (Quinnon Sheffield) in 1977’s SMOKEY AND THE BANDIT.
The Linda appears to have closed for good on Sunday, September 28, 1952 with the Bowery Boys in CRAZY OVER HORSES and Dana Andrews in I WANT YOU. [Kansas City Star]
On Thursday, March 20, 1947, the list of Barton Theaters added the Agnew with the statement, “Watch this space for announcement of the Grand Opening/Free Parking/Cry Room.”
The Sunday listing of March 23 elaborated: “Free Parking/Friday, March 28, 5 o'clock/Hiram Higsby and the KOMA-CBS Oklahoma Roundup Gang/On the screen, Two Hits— Bing Crosby and Fred Astaire in BLUE SKIES, Roy Rogers with ‘Gabby’ Hayes in ROLL ON TEXAS MOON, with a "Jack Armstrong, All-American Boy” serial chapter."
Opened as announced on Friday, March 28, 1947.
Shut down for good on Monday, April 29, 1957 with Audie Murphy in THE GUNS OF FORT PETTICOAT and the 1939 film THEY MADE ME A CRIMINAL with John Garfield and Claude Rains. [Daily Oklahoman]
Unless it soldiered on as a purely neighborhood theater with no newspaper advertising, the Rodeo’s earlier incarnation closed on Saturday, January 31, 1953, with Sterling Hayden in HELLGATE and radio comedienne Judy Canova in THE WAC FROM WALLA WALLA. [Daily Oklahoman]
The Penn was ‘closed’ on Saturday, June 22, 1963, with Disney’s MIRACLE OF THE WHITE STALLIONS and a 1961 Italian peplum, THE CONQUEROR. The following day, an small block-ad stated, “Temporarily CLOSED for Remodeling/WATCH FOR GRAND OPENING.” The Penn’s ads then disappeared.
On Wednesday, August 21, 1963—with no further reference to the Penn except the address—a small ad appeared for the Trend with its new typeface and slogan (“Films of Distinction”) and announcing its first marquee, Pietro Germi’s DIVORCE ITALIAN STYLE on the 28th (subsequent days until the 27th carried an identical ad, then a larger ad explaining the Trend’s art/foreign film policy). Re-opened as announced on Wednesday evening, August 28, 1963 (the local temperature was 102 degrees). By early 1971 they were showing conventional features such as MAS*H and PATTON (I hope to soon confirm the actual closing date, as the Trend didn’t advertise every day near the end.). After its closing, the Tower Theater and the nearby Oklahoma City University attempted foreign-film series. [Daily Oklahoman]
Now the Trolley Stop Record Shop, photos and rotating videos of the latest interior can be found online. But have posted one photo just to confirm on CT the current interior of the former Penn Theater.
An etiquette argument between customers on Tuesday, September 26, at this location allegedly descended into an altercation outside the theater afterwards. News link
They could have gotten the spelling of the preview ZORRO (i.e. ZORRO THE GAY BLADE) correct but either they would’ve had to condense “tonight” as “tonite,” or left out the apostrophe marks book-ending the title…
‘Barbara Stanwyck’—in contrast to former silent actress Laura La Plante, whose name is listed correctly—was still establishing her career with moviegoers (and ad-copy checkers) so a very early misspelling was understandable…
The only real glitch in this otherwise impeccable calendar is the misspelling of ‘Richard Haydn’ in THE FOXES OF HARROW. But how did uncredited background player Juan Varro—who’s blink-and-you’ll-miss-it cameo lasts less than a minute—end up here?
Can be seen down the block during the marching band scene in Woody Allen’s TAKE THE MONEY AND RUN (1969).
Visible in archive domestic footage at the beginning of Episode 2, “Riding the Tiger,” of the PBS documentary THE VIETNAM WAR, and appears to have been showing Peter Sellers in the 1962 film version of WALTZ OF THE TOREADORS. The Ute Theater can be glimpsed across the street.
A fine double-feature but either: 1) somebody was transcribing the title TWO-LANE BLACKTOP from poorly handwritten notes and didn’t care why it sounded nonsensical; 2) mis-heard it over the phone and didn’t ask for a clearer pronunciation; or 3) didn’t know/care who ‘James Taylor’ was…
It really wouldn’t have taken up much more space to typeset the full title for such a prestigious film: THE AMERICANIZATION OF EMILY.
The Jefferson appears to be playing Julio Porter’s 1968 Argentinian comedy COCHE CAMA ALOJAMIENTO (“CAR BED ACCOMMODATION”?), which looks to have been highly influenced by Billy Wilder’s SOME LIKE IT HOT.
Although “James Cagney” may have been legendary enough at the Basie, the Dixie may not yet have heard of “Richard Widmark”…
Ordinarily, it was “Susan Strasberg”…
Poor things got so excited about having two GIDGET movies for the marquee they forgot how to spell “Hawaiian”…