This was the first program change since the Music Hall adopted a screen/stage policy on January 11th with “Bitter Tea of General Yen” as the film. The New Roxy, now labeled the RKO Roxy to soothe complaints from the original Roxy, was also about to have the first program change of its screen/stage policy.
Produced by Sid Grauman, “Pageant of the Allies” featured a bevy of beauties in spectacular costumes representing nations in the “Great War” of 1914-18.
The Music Hall composed its own ads, and kept movie credits to a minimum because the space had to be shared with the stage revue. But even Columbia Pictures' marketing downplayed the connection because the original satire of the newspaper world had been drastically revamped into a romantic screwball comedy by casting Rosalind Russell as a leading character previously enacted by a man.
All six of MGM’s “Tarzan” features debuted at the Capitol, but this was the last with support from a stage show. The Capitol showcased films only from 1935 into 1943.
Ironically, Loew’s Grand was presenting a return engagement of “Gone With the Wind” on the day that Martin Luther King, Jr. was assassinated in Memphis.
Born in Atlanta on January 15th, 1929, the future Dr. King was verging on 11 at the time of the world premiere of “GWTW” at Loew’s Grand in December, 1939.
Followed Radio’s “Seven Keys to Baldpate,” with reserved seats selling four weeks in advance. The B&W version of the Broadway stage hit is believed “lost,” along with its three final reels in two-strip Technicolor.
This area was called the “Golden Foyer” due to the golden chandeliers and ceiling decoration. Against the wall facing the oriental rug stood an ornamental fountain, which had a large fishpond and was always surrounded by exotic plants and fresh-cut flowers.
At the Jersey and Newark, “What A Woman” was having its first area bookings since the B&W comedy’s premiere engagement at Radio City Music Hall in early December, 1943.
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.”
Loew’s Criterion marquee displays “Tap Roots,” which opened there on August 25th, 1948.
This was the first program change since the Music Hall adopted a screen/stage policy on January 11th with “Bitter Tea of General Yen” as the film. The New Roxy, now labeled the RKO Roxy to soothe complaints from the original Roxy, was also about to have the first program change of its screen/stage policy.
New York followed on November 19th at the Astor Theatre in Times Square.
Produced by Sid Grauman, “Pageant of the Allies” featured a bevy of beauties in spectacular costumes representing nations in the “Great War” of 1914-18.
One of the Pickens Sisters featured in the stage show now has a theatre named for her in Newport, Rhode Island. CT listing here
The Music Hall composed its own ads, and kept movie credits to a minimum because the space had to be shared with the stage revue. But even Columbia Pictures' marketing downplayed the connection because the original satire of the newspaper world had been drastically revamped into a romantic screwball comedy by casting Rosalind Russell as a leading character previously enacted by a man.
Ad for the final Weissmuller/“Tarzan” at the Capitol in 1942 can be viewed here
All six of MGM’s “Tarzan” features debuted at the Capitol, but this was the last with support from a stage show. The Capitol showcased films only from 1935 into 1943.
The first program change of the new decade followed a hold-over of “The Hunchback of Notre Dame,” which had opened on December 30th, 1939.
Gloria Swanson herself returned 33 years later for this legendary photograph
Ironically, Loew’s Grand was presenting a return engagement of “Gone With the Wind” on the day that Martin Luther King, Jr. was assassinated in Memphis. Born in Atlanta on January 15th, 1929, the future Dr. King was verging on 11 at the time of the world premiere of “GWTW” at Loew’s Grand in December, 1939.
Followed Radio’s “Seven Keys to Baldpate,” with reserved seats selling four weeks in advance. The B&W version of the Broadway stage hit is believed “lost,” along with its three final reels in two-strip Technicolor.
This area was called the “Golden Foyer” due to the golden chandeliers and ceiling decoration. Against the wall facing the oriental rug stood an ornamental fountain, which had a large fishpond and was always surrounded by exotic plants and fresh-cut flowers.
At the Jersey and Newark, “What A Woman” was having its first area bookings since the B&W comedy’s premiere engagement at Radio City Music Hall in early December, 1943.
The Clark company also did installations for other major theatres listed at the bottom of the trade journal ad.
Don Baker was the Paramount’s resident organist at the time.
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.”