After a disappointing midtown debut, Republic’s rare Technicolor release didn’t reach the neighborhoods until late September, when the RKO circuit booked it as supporting feature to “I Was a Male War Bride.” Ad displayed here
Front corners of the Broadway Theatre marquee (lower right) had vertical signage for Cine Roma, the current tenant. Photo courtesy of NYC’s Municipal Archives.
Due to its Downtown Brooklyn location, the Metropolitan was exclusive first-run for the borough until the advent of “Showcase” distribution in the 1960s. But a product split with the Brooklyn Paramount, Fox, and RKO Albee deprived the “Met” of some films that ran on the Loew’s neighborhood circuit, causing frequent hold-overs, even when business didn’t warrant them.
Paramount made no attempt to coordinate with the Christian holy day of prayer, but delivered one of the “Golden Turkeys” of that Thanksgiving holiday season.
A “fast girlie show” was one that included strippers. NYC authorities had outlawed the usage of “burlesque” and “striptease” in the advertising and promotion of stage productions.
The dual engagement opened the previous day. At the time, the one-way subway fare between Brooklyn and Manhattan was five cents, with a nickel coin used at turnstiles. In 1948, the fare was raised by 100% to ten cents, with a dime replacing the nickel.
Part of a “live” B&W closed-circuit presentation at cinemas across the USA. Those on the West Coast started at 5:15 in the afternoon, which dented attendance considerably.
The United Artists release had previously played a test engagement at Loew’s Capitol in the nation’s capital, with no attempt to link with current events. Ad displayed here
20th-Fox’s second CinemaScope feature had its premiere engagement in midtown at both Loew’s State and Brandt’s Globe. An exclusive two-week run in downtown Brooklyn at the RKO Albee preceded the 67-theatre saturation.
The marketing for the B&W biography of one of America’s most beloved writers tried to capitalize on current wartime atrocities. Jack London actually died in 1916, but he did witness shocking conditions during the Russo-Japanese War of 1904, which he covered for stateside newspapers.
I don’t believe that “The Sound of Music” was released in Germany with all the songs cut. But the movie did prove unpopular in both Germany and neighboring Austria, as reported in this article
Because of a “C-Condemned” rating from the Catholic National Legion of Decency, first-run Broadway showcases refused to book the British import, so Universal-International rented the vacant playhouse for the launching. Experiencing similar resistance in other major cities, U-I finally made some cuts which earned the Legion’s A-II rating, which made it “morally objectionable for adults” instead of “forbidden” for all ages.
Trade journal report of February 25th, 1927, suggests that this might have been the ground site of the original Baldwin Theatre. No single-screen cinema of more than 2,500 seats was ever built in Nassau and/or Suffolk Counties.
After a disappointing midtown debut, Republic’s rare Technicolor release didn’t reach the neighborhoods until late September, when the RKO circuit booked it as supporting feature to “I Was a Male War Bride.” Ad displayed here
Front corners of the Broadway Theatre marquee (lower right) had vertical signage for Cine Roma, the current tenant. Photo courtesy of NYC’s Municipal Archives.
Due to its Downtown Brooklyn location, the Metropolitan was exclusive first-run for the borough until the advent of “Showcase” distribution in the 1960s. But a product split with the Brooklyn Paramount, Fox, and RKO Albee deprived the “Met” of some films that ran on the Loew’s neighborhood circuit, causing frequent hold-overs, even when business didn’t warrant them.
Paramount made no attempt to coordinate with the Christian holy day of prayer, but delivered one of the “Golden Turkeys” of that Thanksgiving holiday season.
If the Palace was the largest cinema in Connecticut, it goes without saying that it was also the largest in Bridgeport.
A “fast girlie show” was one that included strippers. NYC authorities had outlawed the usage of “burlesque” and “striptease” in the advertising and promotion of stage productions.
The dual engagement opened the previous day. At the time, the one-way subway fare between Brooklyn and Manhattan was five cents, with a nickel coin used at turnstiles. In 1948, the fare was raised by 100% to ten cents, with a dime replacing the nickel.
Ad for the Missouri Theatre’s grand opening on November 8th, 1920.
The closed-circuit B&W telecast originated in New York City at the Metropolitan Opera House, where it started at local time of two hours earlier.
Part of a “live” B&W closed-circuit presentation at cinemas across the USA. Those on the West Coast started at 5:15 in the afternoon, which dented attendance considerably.
Stage prologue described as “an operetta in itself.”
The United Artists release had previously played a test engagement at Loew’s Capitol in the nation’s capital, with no attempt to link with current events. Ad displayed here
By 7:00 that night, a Loew’s emergency team had replaced the screen, and the Criterion re-opened for business.
Howard Hawks was just the producer of the B&W combat drama, with longtime associate Richard Rosson as director.
20th-Fox’s second CinemaScope feature had its premiere engagement in midtown at both Loew’s State and Brandt’s Globe. An exclusive two-week run in downtown Brooklyn at the RKO Albee preceded the 67-theatre saturation.
“Cabaret” was actually produced in Munich, Germany, so I don’t think that the subject matter was ever a problem.
The marketing for the B&W biography of one of America’s most beloved writers tried to capitalize on current wartime atrocities. Jack London actually died in 1916, but he did witness shocking conditions during the Russo-Japanese War of 1904, which he covered for stateside newspapers.
I don’t believe that “The Sound of Music” was released in Germany with all the songs cut. But the movie did prove unpopular in both Germany and neighboring Austria, as reported in this article
The name “Ellantee” was apparently a pun on L&T, the abbreviation used by the Lubliner & Trinz circuit.
Because of a “C-Condemned” rating from the Catholic National Legion of Decency, first-run Broadway showcases refused to book the British import, so Universal-International rented the vacant playhouse for the launching. Experiencing similar resistance in other major cities, U-I finally made some cuts which earned the Legion’s A-II rating, which made it “morally objectionable for adults” instead of “forbidden” for all ages.
Trade journal report of February 25th, 1927, suggests that this might have been the ground site of the original Baldwin Theatre. No single-screen cinema of more than 2,500 seats was ever built in Nassau and/or Suffolk Counties.
Followed an exclusive six-week run of “The Bridges At Toko-Ri.”
An ultra-rare ad displaying the management connection between the new Radio City showplaces and RKO Theatres.
Compare to pre-construction sketch displayed here
“GWTW” was moving on to Loew’s neighborhood theatres, but would continue on Broadway in its reserved-seat engagement at the Astor Theatre.