Much of the success of this engagement was due to the stage show topped by Frankie Laine and Patti Page, two of the most popular singers in America at the time.
With Will Rogers as emcee, the event drew more stars than there were in heaven. The B&W drama’s own Greta Garbo and John Barrymore didn’t attend, but were replaced by Norma Shearer and Clark Gable…This was an exclusive booking for “Grand Hotel” at Grauman’s Chinese, with two performances daily at regular prices.
The Strand on Broadway in midtown Manhattan charged higher admission prices, so the two theatres were advertised separately for “Captain Blood.” The Brooklyn Paramount, together with the nearby Fox and Brooklyn Strand, was now being managed by the Fabian division of Warner Brothers Theatres.
The B&W epic opened that same day at the Brooklyn Paramount, which was advertised separately due to a considerably lower price scale that started with 25 cents for all seats until 2PM.
On opening day of “The Long, Long Trailer,” Lucille Ball and Desi Arnaz met backstage with Russell Markert and some of the Rockettes. Ball pretended to be auditioning for the current stage revue, “Dancing Around.”
This was the first time in the Greater New York-New Jersey area that a major movie opened simultaneously on Broadway and at so many neighborhood theatres. For this engagement only, the Capitol suspended stage shows…“Duel in the Sun” had its world premiere in Los Angeles the previous December to qualify for the 1946 Academy Awards. It received only two nominations (Jennifer Jones and Lillian Gish), but had no winners.
Since then, the movie’s release had been delayed by censorship problems with the Catholic Legion of Decency
and by the termination of Selznick’s longtime distribution deal with United Artists. He’d formed his own company, Selznick Releasing Organization, or S.R.O.,
initials already in the showbiz vocabulary.
Because this was a shared engagement with the Sutton Theatre, the brand-new Paramount didn’t receive much of an advertising launch. Both cinemas were under the management of Rugoff Theatres at the time.
The stage show supporting the Technicolor revue “King of Jazz” featured a spectacular performance of George Gershwin’s “Rhapsody in Blue,” with Gershwin himself on piano, accompanied by the combined musicians of the Paul Whiteman and Roxy Symphony Orchestras.
At the time, the gutted building was part of the J&R electronics business that had several branches along Park Row. J&R eventually went bankrupt after it built a new multi-floor space at the corner of Ann Street which consolidated all those units.
The new policy started on August 27th, 1922, with major photoplays supported by “big” atmospheric prologues with lavish sets and costumes and music provided by an augmented resident orchestra.
The reissue of the 1940 classic arrived on May 18th, 1978, amidst fears that the Music Hall would be closing forever for demolition. The skimpy stage show ran for about half an hour, with three numbers by the Rockettes and musical interludes including a Symphony Orchestra tribute to Cole Porter compositions.
The opening coincided with Bing Crosby’s 41st birthday. He went on to win an “Oscar” for his performance, and later repeated the role in “The Bells of St. Mary’s.”
Much of the success of this engagement was due to the stage show topped by Frankie Laine and Patti Page, two of the most popular singers in America at the time.
With Will Rogers as emcee, the event drew more stars than there were in heaven. The B&W drama’s own Greta Garbo and John Barrymore didn’t attend, but were replaced by Norma Shearer and Clark Gable…This was an exclusive booking for “Grand Hotel” at Grauman’s Chinese, with two performances daily at regular prices.
The Strand on Broadway in midtown Manhattan charged higher admission prices, so the two theatres were advertised separately for “Captain Blood.” The Brooklyn Paramount, together with the nearby Fox and Brooklyn Strand, was now being managed by the Fabian division of Warner Brothers Theatres.
The B&W epic opened that same day at the Brooklyn Paramount, which was advertised separately due to a considerably lower price scale that started with 25 cents for all seats until 2PM.
On opening day of “The Long, Long Trailer,” Lucille Ball and Desi Arnaz met backstage with Russell Markert and some of the Rockettes. Ball pretended to be auditioning for the current stage revue, “Dancing Around.”
The Strand had to settle for a “move-over” of “Casablanca,” at the end of its three-month premiere engagement at WB’s Hollywood Theatre.
This was the first time in the Greater New York-New Jersey area that a major movie opened simultaneously on Broadway and at so many neighborhood theatres. For this engagement only, the Capitol suspended stage shows…“Duel in the Sun” had its world premiere in Los Angeles the previous December to qualify for the 1946 Academy Awards. It received only two nominations (Jennifer Jones and Lillian Gish), but had no winners. Since then, the movie’s release had been delayed by censorship problems with the Catholic Legion of Decency and by the termination of Selznick’s longtime distribution deal with United Artists. He’d formed his own company, Selznick Releasing Organization, or S.R.O., initials already in the showbiz vocabulary.
Note ad at bottom for next day’s program change at the New Roxy, which still had a stage/screen policy.
Georgina Hale deserved at least an ‘Oscar’ nomination for her riveting portrayal of Alma Mahler.
The six-day total would be equal to about $638,473 in 2016.
Because this was a shared engagement with the Sutton Theatre, the brand-new Paramount didn’t receive much of an advertising launch. Both cinemas were under the management of Rugoff Theatres at the time.
The stage show supporting the Technicolor revue “King of Jazz” featured a spectacular performance of George Gershwin’s “Rhapsody in Blue,” with Gershwin himself on piano, accompanied by the combined musicians of the Paul Whiteman and Roxy Symphony Orchestras.
That day, the nearby Radio City Music Hall was offering “The Cowboy and the Lady” (Gary Cooper-Merle Oberon) and stage show.
The ideal “Mother’s Day movie” for 1948 arrived early at the Music Hall, on March 11th as part of the Easter Holiday Show.
At the time, the gutted building was part of the J&R electronics business that had several branches along Park Row. J&R eventually went bankrupt after it built a new multi-floor space at the corner of Ann Street which consolidated all those units.
The new policy started on August 27th, 1922, with major photoplays supported by “big” atmospheric prologues with lavish sets and costumes and music provided by an augmented resident orchestra.
With her open-toed platform shoes, Carmen Miranda started a fad for painted nails that endures to this day.
Opened on May 5th, 1966, following “The Singing Nun” and Easter holiday stage show.
Kay Kyser and his musical cohorts were hugely popular on radio and recordings at the time.
Opened to the public on May 5th, 1955.
Three program changes per week with sub-run features.
The reissue of the 1940 classic arrived on May 18th, 1978, amidst fears that the Music Hall would be closing forever for demolition. The skimpy stage show ran for about half an hour, with three numbers by the Rockettes and musical interludes including a Symphony Orchestra tribute to Cole Porter compositions.
Roadshow policy, with all seats reserved.
The opening coincided with Bing Crosby’s 41st birthday. He went on to win an “Oscar” for his performance, and later repeated the role in “The Bells of St. Mary’s.”
Loew’s circuit ad for the Greater NYC area for the week starting May 4th, 1934.