The New York premiere engagement was a month later, opening on February 22nd, the national holiday honoring Lincoln’s birth, at Radio City Music Hall. View ad here
The B&W drama had its world premiere the night before, with “First Lady” Eleanor Roosevelt as honored guest. During this exclusive engagement, the biopic was shown continuously during the day, and with one reserved seat performance at night.
This shows a side wall of the Loew Annex, a small office building on the south side of West 46th Street, around the corner from Loew’s State Theatre. The Annex was built to supplement the Loew’s HQ at 1540 Broadway and initially used by the vaudeville division. It was right next door to the HQ of trade journal Variety, which had an address of 154 West 46th Street. The Loew Annex might have been #156, but that’s just a guess.
The word “demolished” is open to debate. It seems possible that the original exterior walls of the auditorium were retained, and then the interior totally gutted for the new design.
News report published March 27th, 1930. The final movie roadshow, “Puttin' on the Ritz,” was moved to the Rivoli Theatre, but with continuous performances at regular prices.
When Radio Pictures ran short of films with roadshow potential, United Artists came to the rescue with Harry Richman’s feature debut in a spectacular musical with finale in two-strip Technicolor.
This was the first program change since the Music Hall adopted a screen/stage policy on January 11th with “Bitter Tea of General Yen” as the film. The New Roxy, now labeled the RKO Roxy to soothe complaints from the original Roxy, was also about to have the first program change of its screen/stage policy.
Produced by Sid Grauman, “Pageant of the Allies” featured a bevy of beauties in spectacular costumes representing nations in the “Great War” of 1914-18.
The Music Hall composed its own ads, and kept movie credits to a minimum because the space had to be shared with the stage revue. But even Columbia Pictures' marketing downplayed the connection because the original satire of the newspaper world had been drastically revamped into a romantic screwball comedy by casting Rosalind Russell as a leading character previously enacted by a man.
All six of MGM’s “Tarzan” features debuted at the Capitol, but this was the last with support from a stage show. The Capitol showcased films only from 1935 into 1943.
Ironically, Loew’s Grand was presenting a return engagement of “Gone With the Wind” on the day that Martin Luther King, Jr. was assassinated in Memphis.
Born in Atlanta on January 15th, 1929, the future Dr. King was verging on 11 at the time of the world premiere of “GWTW” at Loew’s Grand in December, 1939.
Followed Radio’s “Seven Keys to Baldpate,” with reserved seats selling four weeks in advance. The B&W version of the Broadway stage hit is believed “lost,” along with its three final reels in two-strip Technicolor.
This area was called the “Golden Foyer” due to the golden chandeliers and ceiling decoration. Against the wall facing the oriental rug stood an ornamental fountain, which had a large fishpond and was always surrounded by exotic plants and fresh-cut flowers.
At the Jersey and Newark, “What A Woman” was having its first area bookings since the B&W comedy’s premiere engagement at Radio City Music Hall in early December, 1943.
The New York premiere engagement was a month later, opening on February 22nd, the national holiday honoring Lincoln’s birth, at Radio City Music Hall. View ad here
The B&W drama had its world premiere the night before, with “First Lady” Eleanor Roosevelt as honored guest. During this exclusive engagement, the biopic was shown continuously during the day, and with one reserved seat performance at night.
A brief video tour of the rejuvenated Kings Theatre can be viewed here
During this period in time, new movies were being launched simultaneously at both Paramounts, but, by necessity, with different stage offerings.
Loew’s Gates listed in section with “Pal Joey” as top feature.
This shows a side wall of the Loew Annex, a small office building on the south side of West 46th Street, around the corner from Loew’s State Theatre. The Annex was built to supplement the Loew’s HQ at 1540 Broadway and initially used by the vaudeville division. It was right next door to the HQ of trade journal Variety, which had an address of 154 West 46th Street. The Loew Annex might have been #156, but that’s just a guess.
A rare MGM booking for the world’s largest cinema, which was involved in bankruptcy proceedings and threatened with closure.
The word “demolished” is open to debate. It seems possible that the original exterior walls of the auditorium were retained, and then the interior totally gutted for the new design.
News report published March 27th, 1930. The final movie roadshow, “Puttin' on the Ritz,” was moved to the Rivoli Theatre, but with continuous performances at regular prices.
View of the block’s previous tenants can be found here
When Radio Pictures ran short of films with roadshow potential, United Artists came to the rescue with Harry Richman’s feature debut in a spectacular musical with finale in two-strip Technicolor.
Loew’s Criterion marquee displays “Tap Roots,” which opened there on August 25th, 1948.
This was the first program change since the Music Hall adopted a screen/stage policy on January 11th with “Bitter Tea of General Yen” as the film. The New Roxy, now labeled the RKO Roxy to soothe complaints from the original Roxy, was also about to have the first program change of its screen/stage policy.
New York followed on November 19th at the Astor Theatre in Times Square.
Produced by Sid Grauman, “Pageant of the Allies” featured a bevy of beauties in spectacular costumes representing nations in the “Great War” of 1914-18.
One of the Pickens Sisters featured in the stage show now has a theatre named for her in Newport, Rhode Island. CT listing here
The Music Hall composed its own ads, and kept movie credits to a minimum because the space had to be shared with the stage revue. But even Columbia Pictures' marketing downplayed the connection because the original satire of the newspaper world had been drastically revamped into a romantic screwball comedy by casting Rosalind Russell as a leading character previously enacted by a man.
Ad for the final Weissmuller/“Tarzan” at the Capitol in 1942 can be viewed here
All six of MGM’s “Tarzan” features debuted at the Capitol, but this was the last with support from a stage show. The Capitol showcased films only from 1935 into 1943.
The first program change of the new decade followed a hold-over of “The Hunchback of Notre Dame,” which had opened on December 30th, 1939.
Gloria Swanson herself returned 33 years later for this legendary photograph
Ironically, Loew’s Grand was presenting a return engagement of “Gone With the Wind” on the day that Martin Luther King, Jr. was assassinated in Memphis. Born in Atlanta on January 15th, 1929, the future Dr. King was verging on 11 at the time of the world premiere of “GWTW” at Loew’s Grand in December, 1939.
Followed Radio’s “Seven Keys to Baldpate,” with reserved seats selling four weeks in advance. The B&W version of the Broadway stage hit is believed “lost,” along with its three final reels in two-strip Technicolor.
This area was called the “Golden Foyer” due to the golden chandeliers and ceiling decoration. Against the wall facing the oriental rug stood an ornamental fountain, which had a large fishpond and was always surrounded by exotic plants and fresh-cut flowers.
At the Jersey and Newark, “What A Woman” was having its first area bookings since the B&W comedy’s premiere engagement at Radio City Music Hall in early December, 1943.