Right side of Municipal Archives photo shows the entrance and connecting lobby that were added when Marcus Loew took over the Murray Hill Theatre, which was previously entered around the corner on Lexington Avenue.
Despite its luxuriousness, Loew’s 72nd Street was never more than a second-run neighborhood cinema, but one of the first in Manhattan to play films AFTER their exclusive midtown debuts. And though the theatre was fully equipped for stage presentations, the facilities were never used.
Photo from Municipal Archives was apparently taken in early morning, before the Savoy and/or Macy’s had opened for business.
The Savoy’s signage, entrance, and interior were modernized in the coming decade. Large exterior portions of Macy’s are still recognizable in 2019.
Paul Baar might consider donating his collection of photographs and related materials to The Billy Rose Theatre Division of the New York Public Library for the Performing Arts at 40 Lincoln Center in New York City. More details here
“Juarez” had first opened in April as a reserved-seat roadshow at WB’s Hollywood Theatre at Broadway & 51st Street. The move to WB’s Strand brought not only lower ticket prices, but also a stage show to further attract bargain-hunters.
The three Westchester theatres were among Proctor’s properties being integrated into the Radio-Keith-Orpheum circuit, which was starting to favor the initials RKO for identification.
An aspiring comedian and future superstar made his Broadway debut on the State’s vaudeville bill, thanks to the influence of headliner Molly Picon, a close friend of his parents…“National Velvet” had been part of the most recent Christmas holiday presentation at Radio City Music Hall.
During that era, the State’s feature movies were usually second-run. “Strike Me Pink” had previously played at Radio City Music Hall (with stage revue).
The photo with “The Pawnbroker” on the marquee shows the Gates Avenue side of the building, not the main entrance on Broadway. The marquee and poster cases on Gates Avenue were “just for show,” with doors that were exits from the auditorium. Photo linked here
The following year, another Lincoln biopic opened at Radio City Music Hall on February 22nd, 1940, inappropriately enough on the national holiday honoring the birth of George Washington. Ad displayed here
Griffith’s first all-talking production impressed a majority of critics, but failed to draw crowds, neither as a reserved-seat roadshow nor in general release with title expanded to “Abraham Lincoln.”
This was an unprecedented six-theatre launching for Monogram Pictures, now known as Allied Artists and striving to rise from “minor” to “major” status. Both features were in Sepia Tone instead of standard B&W.
Held on that year’s national observance of George Washington’s Birthday.
Right side of Municipal Archives photo shows the entrance and connecting lobby that were added when Marcus Loew took over the Murray Hill Theatre, which was previously entered around the corner on Lexington Avenue.
Despite its luxuriousness, Loew’s 72nd Street was never more than a second-run neighborhood cinema, but one of the first in Manhattan to play films AFTER their exclusive midtown debuts. And though the theatre was fully equipped for stage presentations, the facilities were never used.
Photo from Municipal Archives was apparently taken in early morning, before the Savoy and/or Macy’s had opened for business. The Savoy’s signage, entrance, and interior were modernized in the coming decade. Large exterior portions of Macy’s are still recognizable in 2019.
Paul Baar might consider donating his collection of photographs and related materials to The Billy Rose Theatre Division of the New York Public Library for the Performing Arts at 40 Lincoln Center in New York City. More details here
“Juarez” had first opened in April as a reserved-seat roadshow at WB’s Hollywood Theatre at Broadway & 51st Street. The move to WB’s Strand brought not only lower ticket prices, but also a stage show to further attract bargain-hunters.
The three Westchester theatres were among Proctor’s properties being integrated into the Radio-Keith-Orpheum circuit, which was starting to favor the initials RKO for identification.
Uploaded in memory of singing star Gloria Jean, who joined the Heavenly Choir last August at the age of 92.
An aspiring comedian and future superstar made his Broadway debut on the State’s vaudeville bill, thanks to the influence of headliner Molly Picon, a close friend of his parents…“National Velvet” had been part of the most recent Christmas holiday presentation at Radio City Music Hall.
The B&W British import is probably the most forgotten of movies that debuted at the Paramount Theatre in the final decade of its existence.
The artwork for this ad was originally created by 20th-Fox for “The Robe,” with moments from “Millionaire” replacing those from the biblical epic.
“Strike Me Pink” also opened that day at Loew’s State, which was advertised separately due to its vaudeville policy
During that era, the State’s feature movies were usually second-run. “Strike Me Pink” had previously played at Radio City Music Hall (with stage revue).
Described as “the Magnificent Joy Theatre” in the upper right side of the full-page trade journal ad.
Radio favorite Arthur Godfrey was zooming towards mega-stardom via the new medium of television.
The photo with “The Pawnbroker” on the marquee shows the Gates Avenue side of the building, not the main entrance on Broadway. The marquee and poster cases on Gates Avenue were “just for show,” with doors that were exits from the auditorium. Photo linked here
New prints were made for a national reissue package of Technicolor epics that were first released individually in 1943 and 1944.
The following year, another Lincoln biopic opened at Radio City Music Hall on February 22nd, 1940, inappropriately enough on the national holiday honoring the birth of George Washington. Ad displayed here
Griffith’s first all-talking production impressed a majority of critics, but failed to draw crowds, neither as a reserved-seat roadshow nor in general release with title expanded to “Abraham Lincoln.”
The unveiling of the instant classic took place on the night of the national holiday celebrating the birth of Abraham Lincoln.
This is a side view of the building, with signage that was supplemental to the main entrance on Broadway.
This was an unprecedented six-theatre launching for Monogram Pictures, now known as Allied Artists and striving to rise from “minor” to “major” status. Both features were in Sepia Tone instead of standard B&W.
Used a version of the motorized reflecting ball that later became symbolic of the “Disco Generation” in the 1970s.
Recent photo and preservation update can be viewed here
The State’s vertical sign was at the far corner from the marquee and entrance.