Only six films ran more than a week at the Roxy in 1935. Distributors rarely enforced a contractual second week if attendance is not there because of the house nut guarantee. The two week minimum contract goes out the window on a flop even today. It was even less common with distributor owned depression era theatres.
The Capitol had generally longer runs in 1935 with DAVID COPPERFIELD running five weeks and MUTINY ON THE BOUNTY running four weeks).
CHINA SEAS, ANNA KARENINA and A NIGHT AT THE OPERA ran for three weeks each.
The engagement was three weeks but it was hampered by a weak film title (Columbia admitted it was expecting Sinatra to bring in the crowds) and missing dates when Sinatra developed laryngitis shortly after opening.
Although the Rialto was an action and horror house for most of the forties, it was not an exclusive Universal outlet except mostly for those double-feature re-releases. Exploitation B films from all distributiors played here.
In 1931 DRACULA premiered at the Roxy and FRANKENSTEIN at the Mayfair.
PARAMOUNT December 30, 1942-January, 1943
STAR SPANGLED RHYTHM on screen
BENNY GOODMAN and his Orchestra
RADIO ROGUES
MOKE AND POKE
Extra added attraction! Frank Sinatra
January 26 at 6pm only – Extra! JACK BENNY
PARAMOUNT January 27, 1943- February 23, 1943
STAR SPANGLED RHYTHM on screen
JOHNNY LONG and his orchestra
RADIO ROGUES
MOKE AND POKE
Extra added attraction! Frank Sinatra
I can’t find any record of Frank Sinatra performing live at the Paramount in 1947 but he did appear at the Capitol in November of that year with “petite comedienne” LORRAINE ROGNAN and SKITCH HENDERSON & his piano & orchestra.
How about SAMMY KAYE and his orchestra with IT HAPPENED IN BROOKLYN starring Sinatra at the Capitol in early March?
THE INK SPOTS and ELLA FITZGERALD took over the Paramount in February of 1947 with EASY COME, EASY GO on the screen.
Louis, that is actually the Florida State Theatres FLORIDA – just west of the TOWN on Flagler street. I have not seen a photo of this theatre for years.
It was a Cinerama house for a while and I saw THIS IS CINERAMA there. I also remember seeing THE ODD COUPLE, ROSEMARY’S BABY and the original NIGHT OF THE LIVING DEAD.
I will happily pay $120 to see the new musical YOUNG FRANKENSTEIN or repeat a classic show like A CHORUS LINE from a good orchestra seat. I will also gladly pay up to $100 for the urgency and suspense of a Yankee game.
I will not pay $20 per seat to see what I recall as akin to watching the Macys Thanksgiving Day Parade in from a bad seat at Yankee stadium. It is just not good value for money.
In my opinion, for a suburban family of four the RCMH Christmas show, Broadway musical and live sports are no longer reasonably priced. The latter two can survive without families.
1932 Christmas RCMH opens with an archestra of 90, chorus of 100, ballet of 60 and 48 other performers. Top ticket is $2.50.
In early 1933, due to poor results, movies are introduced and prices are dropped to a range from 33 cents to 99 cents. First-run movies cost at most $2.00 (live orchestra) and a live Broadway show tops at $3.00.
From then on RCMH movie policy is to always keep prices just slightly above first-run Broadway movie theatres in order to attract the masses and fill the large venue.
The organ pit was shut by 1965 when I was there and kids threw gum from the front row for child star Marisol performing live. The Tivoli had an elaborate neon canopy that would date it to the thirties so I suspect sound was not a factor in the organ being removed or covered.
Switching to Spanish films may have eliminated a need for the organ, though.
LM, the Tivoli was very much on a Mexican distribution cycle, although audiences were predominantly Cuban. What happened to organs in the west when Mexican films started flowing into US cinemas?
LM, the photo link says Holguin which is province in Western Cuba. The Lawton Victoria would be in a Havana suburb. I was actually born in Lawton and my uncle was manager of the Victoria in the fifties.
With lip-synching, pre-recorded dancing sounds and a little drag make-up, I could be a Rockett at that distance. Are you guys suggesting that the Rockettes are mostly untalented bimbos with shapely legs who learned how to fan kick in unison?
I have noticed some lip-synching at Broadway shows as well. When did this become acceptable? Radio City should be ashamed for presenting kicking amateurs.
Although it is difficult to sing and dance at the same time thousands of real talents have done so for years. This is just another case of audiences demanding less for more money.
With so many talented unemployed singers and dancers out there Radio City should do better. If a Rockette cannot be consistent enough at every performance she has no business on stage. If a dancer can’t sing she should keep her mouth shut. Those who pay top dollar to see pop stars lip-synching in large arenas are simply paying for being in their presence.
Ed, these were all advertised as showing features albeit some on video. I am aware of Show Palace as a video/peep/book store but I was unsure it ever screened films until I saw these ads.
Show Follies and Jocx do not show as previous names for Cine 1 & 2. I seem to recall a third screen upstairs when it was the West Side 1 & 2 which may have been the Jocx. It struck me as odd then that there was a male theatre upstairs when the venue was a Disney outlet in Times square. I figured Disney accepted the run out of desperation due to their alliance with City Cinemas elsewhere.
I did some porn homework today on the New York Post and the Village Voice and could find the Avon 7 by 1985.
I did stumble into some other oddities not on CT and showing movies (or video?):
1985 Village Voice
Film Charas (350 East 10th St.)Spanish Arthouse
Westworld (354 West St.)Male Porn
Moulin Rouge Triplex (777 Eighth Ave.) Male Porn-all three screens
Follies (7th & 48th St) Male Porn
Tom Cat (1207 West 48th St.) Previously mentioned Male Porn
1989 Village Voice
Jocx (711 Seventh Ave. ) Male Porn
Rick Nelson’s Screening Room (210 West 42nd St. ) Male Porn
(Did Ozzie and Harriet know about this?)
Rainbow theatre (Lower level of Show World, 671 Eighth Ave.) Male Porn
1993 Village Voice
Cinematographe (15 Vandam) Arthouse
Tribeca (41 White St.) Arthouse
Prince (399 West Side Highway) Male Porn
Show Palace (42nd & 8th) Porn
Cinema Classics (332 East 11th St.) Classics
The Lincoln Square announcements are still there including notice of a flashing set of glasses on the screen telling you when to put them on for the 3-D sequence. William Castle would be proud. (Maybe IMAX 3-D horror will work on 42nd street!) I never noticed a platter view.
They still undersell the screen on tall IMAX documentaries due to serious sightline problems. They also used to over-report grosses to the trades but I am not sure if then can still get away with that as EDI collects them electronically.
I did see a Mount St. Helens volcano eruption film in Vegas many years ago when IMAX was just starting. That may have been at Caesar’s Palace.
It can just be a larger clearer image on a standard screen as they have done in Florida before. They used to project with wide stock film that needed the film to be shorter in order to fit the platter. As a result the early IMAX blow-ups of THE MATRIX and BATMAN films were shorter versions.
They now project on digital 3-D but still play shorter version. I suspect it is to buy time for the headphone distribution and collection.
In either case it is a deterioration of a concept that never worked at the boxoffice. The incredible WINGS OF COURAGE presentation I mentioned above was undermined by the fact the film was less than an hour long, the plot was porn light and the heavier speaker head gear gave some people headaches. Still, it was a virtual reality treat to hear Elizabeth McGovern whisper in my ear and the surround sound and giant images of the Andes were breathtaking.
That showing had no similarities to what is now called an IMAX presentation any more than the last few movies advertised as “Cinerama†did.
In 1935 the Roxy advertised a “Big Stage Show” with no headliners on hold-overs and the Capitol had stopped running stage shows altogether.
Only six films ran more than a week at the Roxy in 1935. Distributors rarely enforced a contractual second week if attendance is not there because of the house nut guarantee. The two week minimum contract goes out the window on a flop even today. It was even less common with distributor owned depression era theatres.
The Capitol had generally longer runs in 1935 with DAVID COPPERFIELD running five weeks and MUTINY ON THE BOUNTY running four weeks).
CHINA SEAS, ANNA KARENINA and A NIGHT AT THE OPERA ran for three weeks each.
THE BRIDE OF FRANKENSTEIN premiered at the ROXY and had a rare (for 1935) two week run.
The engagement was three weeks but it was hampered by a weak film title (Columbia admitted it was expecting Sinatra to bring in the crowds) and missing dates when Sinatra developed laryngitis shortly after opening.
Although the Rialto was an action and horror house for most of the forties, it was not an exclusive Universal outlet except mostly for those double-feature re-releases. Exploitation B films from all distributiors played here.
In 1931 DRACULA premiered at the Roxy and FRANKENSTEIN at the Mayfair.
According to the New York Times the multiplex was designed by the architectural firm of Beyer Blinder Belle.
Harriet Irgang, the director of Rustin Levenson Art Conservation, restored the mural originally painted by a French artist, Arthur Brounet.
PARAMOUNT December 30, 1942-January, 1943
STAR SPANGLED RHYTHM on screen
BENNY GOODMAN and his Orchestra
RADIO ROGUES
MOKE AND POKE
Extra added attraction! Frank Sinatra
January 26 at 6pm only – Extra! JACK BENNY
PARAMOUNT January 27, 1943- February 23, 1943
STAR SPANGLED RHYTHM on screen
JOHNNY LONG and his orchestra
RADIO ROGUES
MOKE AND POKE
Extra added attraction! Frank Sinatra
I can’t find any record of Frank Sinatra performing live at the Paramount in 1947 but he did appear at the Capitol in November of that year with “petite comedienne” LORRAINE ROGNAN and SKITCH HENDERSON & his piano & orchestra.
How about SAMMY KAYE and his orchestra with IT HAPPENED IN BROOKLYN starring Sinatra at the Capitol in early March?
THE INK SPOTS and ELLA FITZGERALD took over the Paramount in February of 1947 with EASY COME, EASY GO on the screen.
Davis, theatres avoid publishing this information as they often change screens according to demand or accommodate other screenings during the week.
Poor marketing was definitely a factor. I heard it was coming but never knew it was ever active.
Louis, that is actually the Florida State Theatres FLORIDA – just west of the TOWN on Flagler street. I have not seen a photo of this theatre for years.
It was a Cinerama house for a while and I saw THIS IS CINERAMA there. I also remember seeing THE ODD COUPLE, ROSEMARY’S BABY and the original NIGHT OF THE LIVING DEAD.
Oldjoe, you sound very much like Cineplex Odeon management just before we went bankrupt.
I think some of you are missing the point.
I will happily pay $120 to see the new musical YOUNG FRANKENSTEIN or repeat a classic show like A CHORUS LINE from a good orchestra seat. I will also gladly pay up to $100 for the urgency and suspense of a Yankee game.
I will not pay $20 per seat to see what I recall as akin to watching the Macys Thanksgiving Day Parade in from a bad seat at Yankee stadium. It is just not good value for money.
In my opinion, for a suburban family of four the RCMH Christmas show, Broadway musical and live sports are no longer reasonably priced. The latter two can survive without families.
It closed in 1989.
1932 Christmas RCMH opens with an archestra of 90, chorus of 100, ballet of 60 and 48 other performers. Top ticket is $2.50.
In early 1933, due to poor results, movies are introduced and prices are dropped to a range from 33 cents to 99 cents. First-run movies cost at most $2.00 (live orchestra) and a live Broadway show tops at $3.00.
From then on RCMH movie policy is to always keep prices just slightly above first-run Broadway movie theatres in order to attract the masses and fill the large venue.
The organ pit was shut by 1965 when I was there and kids threw gum from the front row for child star Marisol performing live. The Tivoli had an elaborate neon canopy that would date it to the thirties so I suspect sound was not a factor in the organ being removed or covered.
Switching to Spanish films may have eliminated a need for the organ, though.
LM, the Tivoli was very much on a Mexican distribution cycle, although audiences were predominantly Cuban. What happened to organs in the west when Mexican films started flowing into US cinemas?
LM, the photo link says Holguin which is province in Western Cuba. The Lawton Victoria would be in a Havana suburb. I was actually born in Lawton and my uncle was manager of the Victoria in the fifties.
The tap can be pre-recorded and smile can be painted on. My legs are good but I’ll to work on my jazz hands and hiding the crotch.
Still unacceptable under any circumstance.
With lip-synching, pre-recorded dancing sounds and a little drag make-up, I could be a Rockett at that distance. Are you guys suggesting that the Rockettes are mostly untalented bimbos with shapely legs who learned how to fan kick in unison?
I have noticed some lip-synching at Broadway shows as well. When did this become acceptable? Radio City should be ashamed for presenting kicking amateurs.
Although it is difficult to sing and dance at the same time thousands of real talents have done so for years. This is just another case of audiences demanding less for more money.
With so many talented unemployed singers and dancers out there Radio City should do better. If a Rockette cannot be consistent enough at every performance she has no business on stage. If a dancer can’t sing she should keep her mouth shut. Those who pay top dollar to see pop stars lip-synching in large arenas are simply paying for being in their presence.
I expect more for my money.
Ed, these were all advertised as showing features albeit some on video. I am aware of Show Palace as a video/peep/book store but I was unsure it ever screened films until I saw these ads.
Show Follies and Jocx do not show as previous names for Cine 1 & 2. I seem to recall a third screen upstairs when it was the West Side 1 & 2 which may have been the Jocx. It struck me as odd then that there was a male theatre upstairs when the venue was a Disney outlet in Times square. I figured Disney accepted the run out of desperation due to their alliance with City Cinemas elsewhere.
I did some porn homework today on the New York Post and the Village Voice and could find the Avon 7 by 1985.
I did stumble into some other oddities not on CT and showing movies (or video?):
1985 Village Voice
Film Charas (350 East 10th St.)Spanish Arthouse
Westworld (354 West St.)Male Porn
Moulin Rouge Triplex (777 Eighth Ave.) Male Porn-all three screens
Follies (7th & 48th St) Male Porn
Tom Cat (1207 West 48th St.) Previously mentioned Male Porn
1989 Village Voice
Jocx (711 Seventh Ave. ) Male Porn
Rick Nelson’s Screening Room (210 West 42nd St. ) Male Porn
(Did Ozzie and Harriet know about this?)
Rainbow theatre (Lower level of Show World, 671 Eighth Ave.) Male Porn
1993 Village Voice
Cinematographe (15 Vandam) Arthouse
Tribeca (41 White St.) Arthouse
Prince (399 West Side Highway) Male Porn
Show Palace (42nd & 8th) Porn
Cinema Classics (332 East 11th St.) Classics
Such treasures!
Operating in 1993 as the Cinematographe.
The Lincoln Square announcements are still there including notice of a flashing set of glasses on the screen telling you when to put them on for the 3-D sequence. William Castle would be proud. (Maybe IMAX 3-D horror will work on 42nd street!) I never noticed a platter view.
They still undersell the screen on tall IMAX documentaries due to serious sightline problems. They also used to over-report grosses to the trades but I am not sure if then can still get away with that as EDI collects them electronically.
I did see a Mount St. Helens volcano eruption film in Vegas many years ago when IMAX was just starting. That may have been at Caesar’s Palace.
It can just be a larger clearer image on a standard screen as they have done in Florida before. They used to project with wide stock film that needed the film to be shorter in order to fit the platter. As a result the early IMAX blow-ups of THE MATRIX and BATMAN films were shorter versions.
They now project on digital 3-D but still play shorter version. I suspect it is to buy time for the headphone distribution and collection.
In either case it is a deterioration of a concept that never worked at the boxoffice. The incredible WINGS OF COURAGE presentation I mentioned above was undermined by the fact the film was less than an hour long, the plot was porn light and the heavier speaker head gear gave some people headaches. Still, it was a virtual reality treat to hear Elizabeth McGovern whisper in my ear and the surround sound and giant images of the Andes were breathtaking.
That showing had no similarities to what is now called an IMAX presentation any more than the last few movies advertised as “Cinerama†did.