Illustration for an ad for the latest issue of the Saturday Evening Post in August, 1946. Globe Theatre offering “Diary of a Chambermaid”; Gotham Theatre, “S.O.S.; Strand Theatre, "A Stolen Life” and stage show.
Both features had prior solo debuts in midtown NYC, “The Bravados” at the Paramount in Times Square, and “Stage Struck” at the Trans-Lux Normandie on West 57th Street.
Manhattan’s second and much smaller Paramount was close to the west boundaries of Central Park at Broadway and 62nd Street, just above Columbus Circle.
Since dropping stage/screen policy, the Paramount had been booking Warner Brothers features that, in the past, probably would have opened at the Strand/Warner (now converted to Cinerama roadshows).
“Titanic” had debuted at the Roxy Theatre (with stage show)…The 86th Street was the first of the RKO “nabes” to install a “Miracle Mirror” wide screen.
Kings listed in section with “The Stratton Story” as main feature. The B&W baseball biopic made its NYC debut at Radio City Music Hall (with stage revue).
The stage presentation was a condensed version of what proved to be the final edition of legendary “legit' revues produced on Broadway in NYC by George White and had run for 120 performances at the Alvin Theatre.
“At Dawn We Die” was a new title for the British-made “Tomorrow We Live,” which Republic Pictures acquired for USA release. Original title was already being used for a PRC thriller starring Ricardo Cortez and Jean Parker.
Even with 3-D projection and Polaroid viewers, I don’t think patrons could see anything but a “flat” version sitting in a car at ground level of a towering screen.
Still practiced in 2024, such advertising doesn’t tell us that much about actual attendance, which is the true test of popularity. At least, provide the average price of a ticket for that engagement. And “conventional motion picture theatre” is a new one on me. The indoor type as opposed to drive-ins?
The full-page ad was published in The New York Times on that date, a week after “That’s Entertainment” premiered as the Ziegfeld’s Memorial Day presentation. The flexible Federal holiday was celebrated on May 27th that year.
I’ve never seen any individual advertising for the Rainbow Theatre, but I’ve just noticed it listed in the bottom section of this April 1959 booking of “Gidget” and co-feature. Click here
By-passing Broadway, the exclusive engagement in downtown Brooklyn preceded a 73-theatre booking in neighborhoods throughout New York and New Jersey, with the Loew’s circuit as leader.
Illustration for an ad for the latest issue of the Saturday Evening Post in August, 1946. Globe Theatre offering “Diary of a Chambermaid”;
Gotham Theatre, “S.O.S.; Strand Theatre, "A Stolen Life” and stage show.
The full-page ad was published in the Arts & Leisure section of The New York Times.
Both features had prior solo debuts in midtown NYC, “The Bravados” at the Paramount in Times Square, and “Stage Struck” at the Trans-Lux Normandie on West 57th Street.
A full-page article about this incident can be found in the Motion Picture Herald issue of August 21st, 1937, page 33.
Can a person attend just to see a movie, without needing to purchase food and/or drink?
Manhattan’s second and much smaller Paramount was close to the west boundaries of Central Park at Broadway and 62nd Street, just above Columbus Circle.
Since dropping stage/screen policy, the Paramount had been booking Warner Brothers features that, in the past, probably would have opened at the Strand/Warner (now converted to Cinerama roadshows).
“Magic Mirror” screen was specifically designed for CinemaScope, but could also be used for other wide-angle processes.
“Titanic” had debuted at the Roxy Theatre (with stage show)…The 86th Street was the first of the RKO “nabes” to install a “Miracle Mirror” wide screen.
Side view of original auditorium as Colony Theatre.
Kings listed in section with “The Stratton Story” as main feature. The B&W baseball biopic made its NYC debut at Radio City Music Hall (with stage revue).
The stage presentation was a condensed version of what proved to be the final edition of legendary “legit' revues produced on Broadway in NYC by George White and had run for 120 performances at the Alvin Theatre.
“At Dawn We Die” was a new title for the British-made “Tomorrow We Live,” which Republic Pictures acquired for USA release. Original title was already being used for a PRC thriller starring Ricardo Cortez and Jean Parker.
The Eagle was the only site in Manhattan programmed with all five features.
Replaced on July 11th with “The Tamarind Seed” and new stage revue. Ad here
Even with 3-D projection and Polaroid viewers, I don’t think patrons could see anything but a “flat” version sitting in a car at ground level of a towering screen.
By that time, “Jane” had returned to the “Tarzan” series, with Brenda Joyce replacing Maureen O'Sullivan as soulmate.
Published in the entertainment section of the New York Herald-Tribune on June 11th, 1933.
Still practiced in 2024, such advertising doesn’t tell us that much about actual attendance, which is the true test of popularity. At least, provide the average price of a ticket for that engagement. And “conventional motion picture theatre” is a new one on me. The indoor type as opposed to drive-ins?
Now a component of El Museo & El Teatro del Barrio. More details can be found here
A vintage view of a street poster for Loew’s Woodside is currently displayed at the Forgotten New York website. Click here
The full-page ad was published in The New York Times on that date, a week after “That’s Entertainment” premiered as the Ziegfeld’s Memorial Day presentation. The flexible Federal holiday was celebrated on May 27th that year.
I’ve never seen any individual advertising for the Rainbow Theatre, but I’ve just noticed it listed in the bottom section of this April 1959 booking of “Gidget” and co-feature. Click here
By-passing Broadway, the exclusive engagement in downtown Brooklyn preceded a 73-theatre booking in neighborhoods throughout New York and New Jersey, with the Loew’s circuit as leader.
Except for the title, the B&W comedy had nothing in common with a prior Paramount classic starring the Marx Brothers.