Even with 3-D projection and Polaroid viewers, I don’t think patrons could see anything but a “flat” version sitting in a car at ground level of a towering screen.
Still practiced in 2024, such advertising doesn’t tell us that much about actual attendance, which is the true test of popularity. At least, provide the average price of a ticket for that engagement. And “conventional motion picture theatre” is a new one on me. The indoor type as opposed to drive-ins?
The full-page ad was published in The New York Times on that date, a week after “That’s Entertainment” premiered as the Ziegfeld’s Memorial Day presentation. The flexible Federal holiday was celebrated on May 27th that year.
I’ve never seen any individual advertising for the Rainbow Theatre, but I’ve just noticed it listed in the bottom section of this April 1959 booking of “Gidget” and co-feature. Click here
By-passing Broadway, the exclusive engagement in downtown Brooklyn preceded a 73-theatre booking in neighborhoods throughout New York and New Jersey, with the Loew’s circuit as leader.
By that time, the religious sign above marquee had been removed, revealing what was left of the glass panels of the lighting system that gave the Rainbow Theatre its name.
This was the first year since federal legislation changed observance of Memorial Day from a fixed date of May 30th to the final Monday in May.
As luck would have it, this ad was published on Sunday, May 30th, with Memorial Day following on Monday, May 31st.
The one-week stage engagement enabled the Marx Brothers to experiment with ideas and scenes for their next MGM comedy, “Go West.” Earlier in the month, they “tested” at the Michigan Theatre in downtown Detroit, with “Seventeen” on screen.
RCMH unveiled a new presentation just one day after its largest rival did. At that time, the Music Hall’s seating capacity was reported as 6,200, and the Roxy’s as 5,717.
The Roxy had dropped stage presentations in September of the previous year to become an exclusive showcase for CinemaScope features, starting with “The Robe,” and had no plans to change that “screen only” policy.
The original version of “Windjammer” in the rival Cinemiracle process opened in New York in 1958 as a reserved-seat roadshow at the Roxy Theatre, where it failed to live up to expectations and contributed to structural damage that ended with demolition of the “Cathedral of Motion Pictures” in the summer of 1960.
Replaced on July 11th with “The Tamarind Seed” and new stage revue. Ad here
Even with 3-D projection and Polaroid viewers, I don’t think patrons could see anything but a “flat” version sitting in a car at ground level of a towering screen.
By that time, “Jane” had returned to the “Tarzan” series, with Brenda Joyce replacing Maureen O'Sullivan as soulmate.
Published in the entertainment section of the New York Herald-Tribune on June 11th, 1933.
Still practiced in 2024, such advertising doesn’t tell us that much about actual attendance, which is the true test of popularity. At least, provide the average price of a ticket for that engagement. And “conventional motion picture theatre” is a new one on me. The indoor type as opposed to drive-ins?
Now a component of El Museo & El Teatro del Barrio. More details can be found here
A vintage view of a street poster for Loew’s Woodside is currently displayed at the Forgotten New York website. Click here
The full-page ad was published in The New York Times on that date, a week after “That’s Entertainment” premiered as the Ziegfeld’s Memorial Day presentation. The flexible Federal holiday was celebrated on May 27th that year.
I’ve never seen any individual advertising for the Rainbow Theatre, but I’ve just noticed it listed in the bottom section of this April 1959 booking of “Gidget” and co-feature. Click here
By-passing Broadway, the exclusive engagement in downtown Brooklyn preceded a 73-theatre booking in neighborhoods throughout New York and New Jersey, with the Loew’s circuit as leader.
Except for the title, the B&W comedy had nothing in common with a prior Paramount classic starring the Marx Brothers.
By that time, the religious sign above marquee had been removed, revealing what was left of the glass panels of the lighting system that gave the Rainbow Theatre its name.
Translucent glass lighting system above the marquee was covered by signage proclaiming “Jesus Is Lord.”
A lengthy article about the re-opening, covering two full pages of the Arts Section of The New York Times, was published yesterday (5/26). Link here
This was the first year since federal legislation changed observance of Memorial Day from a fixed date of May 30th to the final Monday in May. As luck would have it, this ad was published on Sunday, May 30th, with Memorial Day following on Monday, May 31st.
“See It Big at the ‘90s Multiplex” is the title of a new revival series starting tomorrow. Details here
The one-week stage engagement enabled the Marx Brothers to experiment with ideas and scenes for their next MGM comedy, “Go West.” Earlier in the month, they “tested” at the Michigan Theatre in downtown Detroit, with “Seventeen” on screen.
This was a second-run “Premiere Showcase.” New York premiere of “Charade” was part of Radio City Music Hall’s Christmas Holiday Presentation of 1963.
Newcomer Bob Hope, who recently scored a hit in the Broadway “legit” musical “Roberta,” topped the Capitol’s stage offering.
RCMH unveiled a new presentation just one day after its largest rival did. At that time, the Music Hall’s seating capacity was reported as 6,200, and the Roxy’s as 5,717.
The Roxy had dropped stage presentations in September of the previous year to become an exclusive showcase for CinemaScope features, starting with “The Robe,” and had no plans to change that “screen only” policy.
SPAMER!
Exclusive first-run in Brooklyn for the 3-D shocker, following its premiere engagement at the Paramount Theatre in Times Square.
At the Kings, Lana Turner shared the screen with the Frankenstein monster and the Wolf Man.
The original version of “Windjammer” in the rival Cinemiracle process opened in New York in 1958 as a reserved-seat roadshow at the Roxy Theatre, where it failed to live up to expectations and contributed to structural damage that ended with demolition of the “Cathedral of Motion Pictures” in the summer of 1960.