Although the Loew’s circuit had been resisting participation in UA’s “Premiere Showcase” concept in NYC’s five boroughs and Westchester County, it made an exception with the Jersey, which had been marketed separately due to its out-of-state location.
By that time, the Kameo was under Brandt management, listed here with “The Lost Man” as top feature. Most, if not all, of the Brandt theatres were participating in saturation engagements including rival circuits.
The original John Ford version in 1939 debuted exclusively at Radio City Music Hall (with stage revue)…1966 ad above lists only Queens and Long Island locations. There must have been more in other areas such as Manhattan, Brooklyn, Bronx, Westchester, Staten Island, and parts of New Jersey and Connecticut.
Part of the RKO neighborhood bookings that followed the epic’s premiere engagements at the Music Hall and New Roxy in Manhattan’s Radio City (now known as Rockefeller Center).
With “80 Days,” four of the five original Loew’s “Wonder Theatres” were included, with the Kings replaced by the larger and better situated Metropolitan in Brooklyn.
“Special Popular Prices” were higher than “regular” for those theatres.
35mm prints were projected on wide screens in nearly the same aspect ratios as the original Todd AO version (starting briefly in standard and expanding to 2:20 to 1 for the remainder).
Long before the Paramount was a launching pad for Frank Sinatra, Bing Crosby played his first stage engagement there since becoming the “New Sensation” of radio broadcasting.
Still offering its original stage/screen policy, but without “Roxy” himself, who had departed to supervise the theatres being built for the massive Radio City project.
20th-Fox’s first CinemaScope feature, “The Robe,” was still running at the Roxy Theatre, which had dropped stage shows with no plans to resume them anytime soon.
Even with its original 2,200 seats, it was hardly “giant” sized or even a “movie palace” in the sense of grandiose cinemas built in the 1920s into the early 1930s. And the free parking facilities were shared with the entire shopping complex, and not restricted to theatre patrons.
Rebooted as Loew’s New Capitol for non-Cinerama presentations. The Capitol’s previous tenant, “Circus World,” had been promoted there with the Cinerama logo, but was actually filmed in Super Technirama 70.
Although the Loew’s circuit had been resisting participation in UA’s “Premiere Showcase” concept in NYC’s five boroughs and Westchester County, it made an exception with the Jersey, which had been marketed separately due to its out-of-state location.
By that time, the Kameo was under Brandt management, listed here with “The Lost Man” as top feature. Most, if not all, of the Brandt theatres were participating in saturation engagements including rival circuits.
The film’s only engagement in the world for that year was as a reserved-seat roadshow, with two performances daily.
With a gala invitational performance the night before (November 18th).
Full-page announcement of additional holiday performances into Easter Week of the following year (April, 1957).
Incident took place on a Saturday night (November 16th, 1957).
The original John Ford version in 1939 debuted exclusively at Radio City Music Hall (with stage revue)…1966 ad above lists only Queens and Long Island locations. There must have been more in other areas such as Manhattan, Brooklyn, Bronx, Westchester, Staten Island, and parts of New Jersey and Connecticut.
The Thanksgiving holiday presentation for that year.
A new feature documentary on the history and significance of the Apollo Theatre can currently be viewed on HBO. Trailer here
Part of the RKO neighborhood bookings that followed the epic’s premiere engagements at the Music Hall and New Roxy in Manhattan’s Radio City (now known as Rockefeller Center).
With “80 Days,” four of the five original Loew’s “Wonder Theatres” were included, with the Kings replaced by the larger and better situated Metropolitan in Brooklyn.
“Special Popular Prices” were higher than “regular” for those theatres. 35mm prints were projected on wide screens in nearly the same aspect ratios as the original Todd AO version (starting briefly in standard and expanding to 2:20 to 1 for the remainder).
Long before the Paramount was a launching pad for Frank Sinatra, Bing Crosby played his first stage engagement there since becoming the “New Sensation” of radio broadcasting.
Still offering its original stage/screen policy, but without “Roxy” himself, who had departed to supervise the theatres being built for the massive Radio City project.
Plaza listed in section with “Johnny Come Lately” as top feature.
Auditorium of President Theatre pictured in bottom left corner.
Mayfair auditorium pictured in top right corner.
20th-Fox’s first CinemaScope feature, “The Robe,” was still running at the Roxy Theatre, which had dropped stage shows with no plans to resume them anytime soon.
Long Island now has another Madison Theatre, located at Molloy College in Rockville Centre. News article here
Even with its original 2,200 seats, it was hardly “giant” sized or even a “movie palace” in the sense of grandiose cinemas built in the 1920s into the early 1930s. And the free parking facilities were shared with the entire shopping complex, and not restricted to theatre patrons.
Opened in 1917 (not 1916), according to trade news clipping displayed here
Held-over for a second week in Hartford.
The Mission Theatre was located in what was then one of the toughest sections in the border city of El Paso.
Rebooted as Loew’s New Capitol for non-Cinerama presentations. The Capitol’s previous tenant, “Circus World,” had been promoted there with the Cinerama logo, but was actually filmed in Super Technirama 70.
By that time, the Fox had lost its exclusive first-run status for the borough of Brooklyn.