Holden went on to win an ‘Oscar’ for his starring performance in “Stalag 17.” Ironically, Otto Preminger, who played a key supporting role in the comedy-drama, also directed Holden in “The Moon Is Blue.”
Due to the surprise success of the revival of vaudeville at the Palace in NYC, Balaban & Katz decided to experiment over the Christmas holiday season by adding stage shows to three of its largest neighborhood cinemas.The Marbro and Southtown were also involved.
Republic Pictures wisely launched the B&W epic on a Saturday to delay an expected whiplash from critics of the daily newspapers. Sunday editions didn’t publish reviews.
Later trade ads for “Simba” claim that the B&W documentary feature ran for ten weeks at the Earl Carroll
Theatre. A glimpse at the playhouse’s “legit” bookings for 1928 suggests that “Simba” was the only film shown there that year. It might also have been the last until “Rio Rita” in October, 1929.
The Woolworth’s had two entrances, one on Seventh Avenue, and the other on West 50th Street, directly across from the Roxy (until the latter’s demolition).
Alfred Hitchcock’s first “talkie,” and often claimed to be the first of all British features in that new medium. “Our mother tongue spoken with all its charm and purity,” says the Selwyn’s ad.
Double duty for “Satchmo,” who performed in both the movie and Strand stage show. Armstrong’s rendition of “Jeepers Creepers” in “Going Places” made the song an immediate hit, as well as one of his signature numbers.
Monogram produced four more “Jiggs & Maggie” comedy features before ending the series due to the death of veteran vaudevillian Joe Yule, who is probably best remembered as the father of Mickey Rooney. “Bringing Up Father” was an extremely popular and long-running newspaper comic strip drawn by George McManus.
The Randforce circuit had its headquarters in the office space that was part of the Savoy Theatre building. Nearly all Randforce theatres were in Brooklyn, with the rest in nearby sections of Queens.
Free rickshaw rides were being offered to pedestrians on opening day of the final “Road” movie, which was the first and only not produced by Paramount Pictures.
“Service Roxyettes” were women hired to replace male ushers who were serving in the wartime Armed Forces. Here one of the few remaining men gives instruction.
Uniform at left is partially hidden by a row of seats.
By this time, Warners' was no longer an exclusive showcase for Warner Brothers/First National releases.
Followed “Rio Rita” as part of a deal with Radio Pictures for roadshow presentations of some of the studio’s top releases.
Otto Preminger’s sudsy potboiler is probably best remembered for the teardrop logo and opening titles by Saul Bass.
Holden went on to win an ‘Oscar’ for his starring performance in “Stalag 17.” Ironically, Otto Preminger, who played a key supporting role in the comedy-drama, also directed Holden in “The Moon Is Blue.”
MGM’s “Broadway Melody of 1936” was the Central’s premiere attraction, to be followed by many more of the studio’s releases.
The Technicolor spectacle went on to win an Academy Award for “Best Picture” of 1952, and another in the script writing division.
Daytime performances only, with promotional support from radio station WOR.
The musical was shot in B&W except for the spectacular grand finale in two-strip Technicolor.
“Emil” was a 1935 British remake of the 1931 German success, “Emil and the Detectives.”
Jersey City and Newark also running “Lassie Come Home,” but listed separately with different second feature (“Passport to Suez”)>
Due to the surprise success of the revival of vaudeville at the Palace in NYC, Balaban & Katz decided to experiment over the Christmas holiday season by adding stage shows to three of its largest neighborhood cinemas.The Marbro and Southtown were also involved.
Republic Pictures wisely launched the B&W epic on a Saturday to delay an expected whiplash from critics of the daily newspapers. Sunday editions didn’t publish reviews.
Later trade ads for “Simba” claim that the B&W documentary feature ran for ten weeks at the Earl Carroll Theatre. A glimpse at the playhouse’s “legit” bookings for 1928 suggests that “Simba” was the only film shown there that year. It might also have been the last until “Rio Rita” in October, 1929.
The Woolworth’s had two entrances, one on Seventh Avenue, and the other on West 50th Street, directly across from the Roxy (until the latter’s demolition).
Alfred Hitchcock’s first “talkie,” and often claimed to be the first of all British features in that new medium. “Our mother tongue spoken with all its charm and purity,” says the Selwyn’s ad.
Double duty for “Satchmo,” who performed in both the movie and Strand stage show. Armstrong’s rendition of “Jeepers Creepers” in “Going Places” made the song an immediate hit, as well as one of his signature numbers.
Monogram produced four more “Jiggs & Maggie” comedy features before ending the series due to the death of veteran vaudevillian Joe Yule, who is probably best remembered as the father of Mickey Rooney. “Bringing Up Father” was an extremely popular and long-running newspaper comic strip drawn by George McManus.
Roxy enjoyed “booming” business with “With A Song In My Heart” and stage show. Lobby crowd scene in center of bottom row of images.
This was the first program change of 1950, following a hold-over of the 1949 Christmas holiday presentation with “On the Town” on screen.
The Randforce circuit had its headquarters in the office space that was part of the Savoy Theatre building. Nearly all Randforce theatres were in Brooklyn, with the rest in nearby sections of Queens.
Free rickshaw rides were being offered to pedestrians on opening day of the final “Road” movie, which was the first and only not produced by Paramount Pictures.
Lou Walters was the father of future TV legend Barbara Walters.
“Service Roxyettes” were women hired to replace male ushers who were serving in the wartime Armed Forces. Here one of the few remaining men gives instruction. Uniform at left is partially hidden by a row of seats.
Universal saved a bundle on this production by using sets and costumes created for its Technicolor version of “Phantom of the Opera” in 1943.
The B&W shocker was Monogram’s response to the RKO Radio blockbuster, “Hitler’s Children.”