Opened on January 7th, following a shorter than usual Christmas holiday presentation with the Esther Williams splasher, “Easy to Love,” on screen. MGM’s first CinemaScope feature was also the Music Hall’s first offering in that process.
As a consequence of the wartime rationing of color film stock, the late-run Warwick is the only cinema of all those listed here with a color feature, MGM’s all-star “Thousands Cheer.”
“Friendly Persuasion” was having its first neighborhood showings since a Thanksgiving/pre-Christmas engagement at Radio City Music Hall (with stage revue).
A resident orchestra and simulated sound effects were standard procedure at the Rivoli and most midtown “deluxers” during the silent era. The exceptional thing about the “Old Ironsides” engagement in 1926 was wide-screen Magnascope projection for the spectacular outdoor scenes.
After a disappointing premiere engagement at the DeMille and Coronet in Manhattan, the Newman-Woodward teaming got much needed support from an eight-year old classic for its first neighborhood release.
To maximize seating capacity of a narrow ground plot between Broadway and Seventh Avenue, the Rivoli was a purpose-built cinema without stage facilities. During the silent era, “live” prologues were presented on platforms erected in front of the screen and along side walls.
NYE arriving on a Friday enabled Saturday and/or Sunday vaudeville at four theatres, including the Hempstead. Ad covers only the Century and Skouras sites in Nassau County. Their “pooled” theatres in Queens and Suffolk County were marketed separately.
Listed in bottom left corner, the Ziegfeld Theatre was just two weeks old at the time, having opened on December 17th with a reserved-seat engagement of “Marooned.”
The world’s two largest movie palaces opened new holiday programs on the same day. Trade reports declared the Music Hall the winner with a first week’s gross of $111,000 against the Roxy’s $78,500. But attendance at the Roxy exceeded that at the Music Hall, which had considerably higher ticket prices.
Complete program change followed a 13-day run of the Christmas presentation, which had “H.M. Pulham, Esq.” on screen. This was the first Yuletide season since the USA entered WW2.
“Fox News” was a newsreel, and not the controversial cable TV news channel of 2020.
“Marquee,” not “marquis.”
Opened on January 7th, following a shorter than usual Christmas holiday presentation with the Esther Williams splasher, “Easy to Love,” on screen. MGM’s first CinemaScope feature was also the Music Hall’s first offering in that process.
The fast-rising singing star made a guest appearance at that night’s 8:30 screening, but did not perform.
Blues singer Mabel Smith eventually reached legendary status as “Big Maybelle”…“Jimmy Steps Out” was originally released in 1941 as “Pot O' Gold.”
As a consequence of the wartime rationing of color film stock, the late-run Warwick is the only cinema of all those listed here with a color feature, MGM’s all-star “Thousands Cheer.”
“Friendly Persuasion” was having its first neighborhood showings since a Thanksgiving/pre-Christmas engagement at Radio City Music Hall (with stage revue).
A resident orchestra and simulated sound effects were standard procedure at the Rivoli and most midtown “deluxers” during the silent era. The exceptional thing about the “Old Ironsides” engagement in 1926 was wide-screen Magnascope projection for the spectacular outdoor scenes.
After a disappointing premiere engagement at the DeMille and Coronet in Manhattan, the Newman-Woodward teaming got much needed support from an eight-year old classic for its first neighborhood release.
The current presentation was a holdover of the 1963 Christmas Holiday Show, which included “Charade” on screen.
Loew’s 72nd Street had an “atmospheric” auditorium with stars and floating clouds, but Loew’s 175th Street and the similar Syracuse site did not.
To maximize seating capacity of a narrow ground plot between Broadway and Seventh Avenue, the Rivoli was a purpose-built cinema without stage facilities. During the silent era, “live” prologues were presented on platforms erected in front of the screen and along side walls.
The second Schuyler is listed as the Colon Theatre here
“Open” statistics claim 9 screens and 584 seats. Could that be correct? That would mean an average of about 65 seats per screen.
The B&W thriller was Universal’s first attempt to create a series to capitalize on its monster success in 1932 with “The Mummy.”
Trade journal report published in March, 1964.
Presented in Dimension 150, as reserved-seat roadshow.
NYE arriving on a Friday enabled Saturday and/or Sunday vaudeville at four theatres, including the Hempstead. Ad covers only the Century and Skouras sites in Nassau County. Their “pooled” theatres in Queens and Suffolk County were marketed separately.
An ad for the Pitkin’s first New Year’s Eve presentation in 1929 can be viewed here
The booking extended into the Loew’s circuit’s “January Festival” for the New Year of 1930.
Listed in bottom left corner, the Ziegfeld Theatre was just two weeks old at the time, having opened on December 17th with a reserved-seat engagement of “Marooned.”
“Heaven Can Wait” was a revival of a 1943 release.
Previous existence as Audubon not mentioned.
The world’s two largest movie palaces opened new holiday programs on the same day. Trade reports declared the Music Hall the winner with a first week’s gross of $111,000 against the Roxy’s $78,500. But attendance at the Roxy exceeded that at the Music Hall, which had considerably higher ticket prices.
Complete program change followed a 13-day run of the Christmas presentation, which had “H.M. Pulham, Esq.” on screen. This was the first Yuletide season since the USA entered WW2.