And though these are all ‘adult’ films this was the very end of when you could bring your children with you and not be concerned about what was going on. Even if something gave you pause you knew your children would have no idea what was going on.
Did that last of its kind Ross Hunter glossy Hollywood production ever look great in the Music Hall. The kind of film the Music Hall was meant to play rather than the blown up made for TV looking films it would show through much of the 70s.
Though there are those who question the idea of the Music Hall showing a disaster film for Easter.
As per CC’s posting of King Solomon’s Mines I believe I read once on here the magnascope screen was used for the stampede.
There should be a list of movies that used the screen and for which sequences. But I guess no one at this point would remember or that any record was kept.
Also as you can see MM opened far too late in the summer. It should have opened at the latest at the beginning of August but the supremely lame That Touch of Mink(will Cary lay Doris in Bermuda? Scheisse.) lasted far too long pushing back this film so far it had two spectacular opening weeks and then went down like the Titanic after the Labor day weekend.
And it should have been one of the Hall’s long runs.
The Music Man in Technirama on screen and Bolero on stage. Had to have been one of the Music Hall’s great shows. Why weren’t they having programs like this in the 70s? Maybe because Hollywood lost the knack for these kinds of entertainments and the Music Hall could no longer afford to produce Bolero.
I just missed out.
Almost got to see Music Man there in the late 70s there during their short revival period. It was announced but then right before it was to play it was cancelled and Gypsy replaced it which I’ve always liked and was happy to see at the Hall. Still would have preferred TMM.
When I worked at the Hall in 70s I asked one of the usher supervisors what was the longest wait he knew of.
He said it was a Saturday during this run when people who got on line 11 in the morning did not get in until 7 in the evening.
Which means there were a lot of people who arrived in the afternoon who couldn’t even get into the final stage show that evening.
I assume this was the Music Hall’s last blockbuster holiday show. I’m sure for subsequent holiday shows the tickets were not in such high demand. Though I myself remember two hour waits at the max in the 70s.
In her autobio O'Hara’s story about the billing is pretty funny.
It was in her contract to have star billing which she does have. But as you can see Uncle Walt pulled a fast one on her. She was not happy. Her lawyer told her not to go near it. Walt would nail her to the wall.
I think this is also the film where they do some of the laughing trio from the first scene of Cosi Fan Tutte.
Had he had an operatic stage career he could have been also a fine Mozartean tenor. It shows he would have had an extraordinary range from Otello to Ferrando. No tenor from this golden age of singing could have done such disparate demanding roles. He was unique.
I liked Doris Day. The material was embarrassing junk. And I didn’t say I didn’t think Norman Jewison wasn’t a good director. But having Garner sit on Pitts' bed in the middle of the night(idiotic)and her screaming and quitting her job. The whole stupid thing with the tomatoes. What did she have in the suburbs? A tomato farm? Arlene Francis an old woman pregnant…the kids in their dripping wet underwear, I could go on but if you like it what can I say? Even Day said a lot of her movies weren’t very good. This is one of them. Crude and vulgar and a harbinger of the dreadful stuff to come to the fore in the later 60s and 70s.
I won’t even going into the idiocy of the floating bubbles in the shape of naked ladies. You thought this was cute and funny? I though sheesh this is awful.
One of those family smutty 60s comedies where Zasu Pitts accuses James Garner of attempted rape, a 58 year old Arlene Francis becomes pregnant and children run around in wet underwear. This is supposed to be hilarious.
Note Conrad Ludlow a NYCB principal is featured with the ballet company.
The previous stage show with Prince and the Showgirl featured another of that company’s principals Melissa Hayden(who also ‘dubbed’ Claire Bloom’s body in Chaplin’s Limelight.)
Maybe it wasn’t ready but Affair should have replaced Designing Woman. Silk Stockings was a perfect Music Hall film and one at the top of my list if I could go back in time to see films there.
What I don’t understand is why it didn’t play Walk Don’t Run when the Music Hall could have used a Grant film in ‘66. There were so many mediocre films that year and it could have followed Million. Even the Times review of Walk asks that question.
And though these are all ‘adult’ films this was the very end of when you could bring your children with you and not be concerned about what was going on. Even if something gave you pause you knew your children would have no idea what was going on.
I never miss a Beulah Bondi Cinerama picture.
NYer posted two Airport ads.
Did that last of its kind Ross Hunter glossy Hollywood production ever look great in the Music Hall. The kind of film the Music Hall was meant to play rather than the blown up made for TV looking films it would show through much of the 70s.
Though there are those who question the idea of the Music Hall showing a disaster film for Easter.
Gorgeous photo! Too bad it no longer looks like that.
As per CC’s posting of King Solomon’s Mines I believe I read once on here the magnascope screen was used for the stampede.
There should be a list of movies that used the screen and for which sequences. But I guess no one at this point would remember or that any record was kept.
Also as you can see MM opened far too late in the summer. It should have opened at the latest at the beginning of August but the supremely lame That Touch of Mink(will Cary lay Doris in Bermuda? Scheisse.) lasted far too long pushing back this film so far it had two spectacular opening weeks and then went down like the Titanic after the Labor day weekend. And it should have been one of the Hall’s long runs.
The Music Man in Technirama on screen and Bolero on stage. Had to have been one of the Music Hall’s great shows. Why weren’t they having programs like this in the 70s? Maybe because Hollywood lost the knack for these kinds of entertainments and the Music Hall could no longer afford to produce Bolero.
I just missed out.
Almost got to see Music Man there in the late 70s there during their short revival period. It was announced but then right before it was to play it was cancelled and Gypsy replaced it which I’ve always liked and was happy to see at the Hall. Still would have preferred TMM.
I know 500 people in the stage show is an exaggeration but at those ticket prices how much were those people paid?
The Music Hall really had to fill the house to make any money. I wonder how often Rockefeller subsidies had to kick in.
When I worked at the Hall in 70s I asked one of the usher supervisors what was the longest wait he knew of.
He said it was a Saturday during this run when people who got on line 11 in the morning did not get in until 7 in the evening.
Which means there were a lot of people who arrived in the afternoon who couldn’t even get into the final stage show that evening.
I assume this was the Music Hall’s last blockbuster holiday show. I’m sure for subsequent holiday shows the tickets were not in such high demand. Though I myself remember two hour waits at the max in the 70s.
My goodness this was nothing more than a 35mm cinemascope blown up?! That’s all Cinemiracle was?
Wonderful single screen theater. Saw Sting here to a packed house.
As per The Parent Trap ad:
In her autobio O'Hara’s story about the billing is pretty funny.
It was in her contract to have star billing which she does have. But as you can see Uncle Walt pulled a fast one on her. She was not happy. Her lawyer told her not to go near it. Walt would nail her to the wall.
I think this is also the film where they do some of the laughing trio from the first scene of Cosi Fan Tutte.
Had he had an operatic stage career he could have been also a fine Mozartean tenor. It shows he would have had an extraordinary range from Otello to Ferrando. No tenor from this golden age of singing could have done such disparate demanding roles. He was unique.
Like the interior of a Faberge Easter egg made for the imperial family.
Entertaining film but for a man in his 30s he does not look good in this.
A great talent.
I now see the picture I was referring to was posted March 3rd.
Hard to believe such a New York once existed.
And just within one city block.
I liked Doris Day. The material was embarrassing junk. And I didn’t say I didn’t think Norman Jewison wasn’t a good director. But having Garner sit on Pitts' bed in the middle of the night(idiotic)and her screaming and quitting her job. The whole stupid thing with the tomatoes. What did she have in the suburbs? A tomato farm? Arlene Francis an old woman pregnant…the kids in their dripping wet underwear, I could go on but if you like it what can I say? Even Day said a lot of her movies weren’t very good. This is one of them. Crude and vulgar and a harbinger of the dreadful stuff to come to the fore in the later 60s and 70s.
I won’t even going into the idiocy of the floating bubbles in the shape of naked ladies. You thought this was cute and funny? I though sheesh this is awful.
Marsha Hunt is still with us and will be 100 in Oct.
Magnificent screen.
If there were only one like it today for 70mm festivals!
One of those family smutty 60s comedies where Zasu Pitts accuses James Garner of attempted rape, a 58 year old Arlene Francis becomes pregnant and children run around in wet underwear. This is supposed to be hilarious.
Carl Reiner’s fingerprints are all over it.
Beyond bizarre.
I wonder why we don’t have dancing accordionists any more. I bet he alone was worth the 99 cents.
Note Conrad Ludlow a NYCB principal is featured with the ballet company.
The previous stage show with Prince and the Showgirl featured another of that company’s principals Melissa Hayden(who also ‘dubbed’ Claire Bloom’s body in Chaplin’s Limelight.)
Whoever he is he’s very stylishly dressed.
Maybe it wasn’t ready but Affair should have replaced Designing Woman. Silk Stockings was a perfect Music Hall film and one at the top of my list if I could go back in time to see films there.
What I don’t understand is why it didn’t play Walk Don’t Run when the Music Hall could have used a Grant film in ‘66. There were so many mediocre films that year and it could have followed Million. Even the Times review of Walk asks that question.