Visible in archive domestic footage at the beginning of Episode 2, “Riding the Tiger,” of the PBS documentary THE VIETNAM WAR, and appears to have been showing Peter Sellers in the 1962 film version of WALTZ OF THE TOREADORS. The Ute Theater can be glimpsed across the street.
A fine double-feature but either: 1) somebody was transcribing the title TWO-LANE BLACKTOP from poorly handwritten notes and didn’t care why it sounded nonsensical; 2) mis-heard it over the phone and didn’t ask for a clearer pronunciation; or 3) didn’t know/care who ‘James Taylor’ was…
The Jefferson appears to be playing Julio Porter’s 1968 Argentinian comedy COCHE CAMA ALOJAMIENTO (“CAR BED ACCOMMODATION”?), which looks to have been highly influenced by Billy Wilder’s SOME LIKE IT HOT.
Closed suddenly on Sunday, January 19, 1930, with Ramon Novarro in the silent film THE PAGAN. Daily re-opening newspaper ads began more than a year later on Sunday, February 22, 1931 (“New Cozy Theater/Watch for the Opening Date/All Talking Programs”). Re-opened with a de Forest sound system (“Best Sound in Town”) on Saturday, February 28 with the almost year-old MONTANA MOON starring Joan Crawford. [Tulsa Tribune]
Unless the Normal fudged the printed start times or the projectionist cut off the end credits or brought up the house lights early, the audience was given a whopping four minutes during the first intermission, and none at all for the second.
Had the photographer kept his hands steady, I believe the clearer wording would show (smaller letters for lower case): FOUR ACADEMY AWARD Nominations/Joanne WOODWARD “Rachel RACHEL”
Other than the spelling of “equipped”, and opening with half the films being R-rated, the other thing of note here is HILARY AND JACKIE and GODS AND MONSTERS were already half a year old by this time.
Susan Hayward in WITH A SONG IN MY HEART (the marquee guy or manager decided to leave off “With”) and Richard Widmark in RED SKIES OF MONTANA—a very long double feature for some reason. Probably an April 1952 matinee based on all the winter coats, the awning shadow, and the release dates.
The informal spelling of “tonight” and the excitement over the opening probably distracted the ad layout artist into spelling “auditoriums” with two letter t’s…
Visible in archive domestic footage at the beginning of Episode 2, “Riding the Tiger,” of the PBS documentary THE VIETNAM WAR, and appears to have been showing Peter Sellers in the 1962 film version of WALTZ OF THE TOREADORS. The Ute Theater can be glimpsed across the street.
A fine double-feature but either: 1) somebody was transcribing the title TWO-LANE BLACKTOP from poorly handwritten notes and didn’t care why it sounded nonsensical; 2) mis-heard it over the phone and didn’t ask for a clearer pronunciation; or 3) didn’t know/care who ‘James Taylor’ was…
It really wouldn’t have taken up much more space to typeset the full title for such a prestigious film: THE AMERICANIZATION OF EMILY.
The Jefferson appears to be playing Julio Porter’s 1968 Argentinian comedy COCHE CAMA ALOJAMIENTO (“CAR BED ACCOMMODATION”?), which looks to have been highly influenced by Billy Wilder’s SOME LIKE IT HOT.
Although “James Cagney” may have been legendary enough at the Basie, the Dixie may not yet have heard of “Richard Widmark”…
Ordinarily, it was “Susan Strasberg”…
Poor things got so excited about having two GIDGET movies for the marquee they forgot how to spell “Hawaiian”…
Closed suddenly on Sunday, January 19, 1930, with Ramon Novarro in the silent film THE PAGAN. Daily re-opening newspaper ads began more than a year later on Sunday, February 22, 1931 (“New Cozy Theater/Watch for the Opening Date/All Talking Programs”). Re-opened with a de Forest sound system (“Best Sound in Town”) on Saturday, February 28 with the almost year-old MONTANA MOON starring Joan Crawford. [Tulsa Tribune]
Unless the Normal fudged the printed start times or the projectionist cut off the end credits or brought up the house lights early, the audience was given a whopping four minutes during the first intermission, and none at all for the second.
The ad writer must have been more familiar with “that SNL guy” John Belushi than “the other guy” Dan Aykroyd…
Somebody couldn’t decide if it was “Carrol” or the correct “Carroll” Baker spelling…
Had the photographer kept his hands steady, I believe the clearer wording would show (smaller letters for lower case): FOUR ACADEMY AWARD Nominations/Joanne WOODWARD “Rachel RACHEL”
Other than the spelling of “equipped”, and opening with half the films being R-rated, the other thing of note here is HILARY AND JACKIE and GODS AND MONSTERS were already half a year old by this time.
Correct list except for “Bonnie Bedelia”…
That’s a very old double-bill: Roy Baker’s VAULT OF HORROR aka TFTC II was produced 7 years earlier, and Jess Franco’s KISS ME MONSTER was from 1969…
Better spelled Jon Hall (without the “h”)…
Almost perfect except for the Academy “Ward”-winning actress Jane Wyman…
Susan Hayward in WITH A SONG IN MY HEART (the marquee guy or manager decided to leave off “With”) and Richard Widmark in RED SKIES OF MONTANA—a very long double feature for some reason. Probably an April 1952 matinee based on all the winter coats, the awning shadow, and the release dates.
The informal spelling of “tonight” and the excitement over the opening probably distracted the ad layout artist into spelling “auditoriums” with two letter t’s…
My guess on the marquee—Hugh O'Brien in THE BRASS LEGEND, pic circa early 1957…
“Laurence Harvey”, not “Lawrence Harver”…
It appears the Colony’s final marquee was BLACK SAMSON…
Pat O'Connor’s CIRLCE OF FRIENDS shared the same distributor as TALES FROM THE HOOD…
WHITE LINE FEVER on Screen 2 if I’m not mistaken, can’t make out Screen 1 though…
Kind of a mean-looking “beast' picture for a kiddie matinee, isn’t it? Isn’t that from the 1961 Hammer film CURSE OF THE WEREWOLF?