The B&W musical, which introduced “White Christmas,” started continuous performances the next day, with stage bill headed by Skinnay Ennis & His Band and the Ink Spots.
News item published in The Film Daily of that date. That strip of 37th Road was also called Albemarle Terrace by the property developer, but the name never caught on and was quickly forgotten.
A recent illustrated article about the Folly Theatre and its architectural importance can be found at the Brooklyn Public Library’s website. Click here
The new 70MM version of “Gone With the Wind” with full stereophonic sound opened a reserved-seat roadshow engagement at the Rivoli Theatre on October 10th, and ran for over one year (54 weeks).
The German actress went on to greater fame under her real name of Hildegard Knef, making many hit recordings as a singer/lyricist and writing two best-selling memoirs starting with “The Gift Horse.”
Like the original Queensboro, the Elmwood had one auditorium until “twinned” top and bottom. Subsequently, two additional screens were added to the ground floor, on the side adjacent to a parking area that has been since redeveloped with apartment buildings.
A recent view of the exterior and a brief update on the status of the building can be found at the “Forgotten New York” website at the very end of an article about National Street in Corona. Click here
The State’s booking of “Happy Go Lucky” followed the Technicolor musical’s premiere engagement at the Paramount Theatre, where the stage show was topped by Les Brown’s Orchestra and comedian Gil Lamb.
Written, produced, and directed by Ben Hecht and Charles MacArthur, the B&W melodrama was made at Paramount’s studio in Astoria, Queens, and considered Noel Coward’s screen debut except for a juvenile bit part in the 1918 “Hearts of the World.” Praised by many critics but considered too sophisticated for the masses, the entire film can be viewed in a public domain print here
Industry was suffering a severe product shortage at the time. Joseph Vogel, head of the theatre division of Loew’s Inc., demanded that MGM book the much-anticipated Astaire-Rogers reunion into its own State Theatre rather than RCMH.
Trailer for the new 94-minute documentary on the life and times of Donald S. Rugoff can be viewed here
A sub-run booking for a box office blockbuster that debuted in the NYC area during the Christmas season of 1970.
Lucille Ball and Desi Arnaz visited her hometown for the gala event, which launched their second and last teaming in a theatrical feature.
The B&W biographical drama earned immediate acclaim and went on to win the Academy Award for “Best Picture” of that year.
The B&W musical, which introduced “White Christmas,” started continuous performances the next day, with stage bill headed by Skinnay Ennis & His Band and the Ink Spots.
News item published in The Film Daily of that date. That strip of 37th Road was also called Albemarle Terrace by the property developer, but the name never caught on and was quickly forgotten.
A recent illustrated article about the Folly Theatre and its architectural importance can be found at the Brooklyn Public Library’s website. Click here
Asking price of $350,000 would be equivalent to about $3.53 million in 2021.
Once again a Center of community agitation. Latest news article and photos can be viewed here
“Betty Boop” was being portrayed on stage by Mae Questel, who provided the voice for the star of Paramount’s very popular cartoon series.
The city of Chicago was playing host to the World’s Fair of that year. Both theatres were under Balaban & Katz management.
The new 70MM version of “Gone With the Wind” with full stereophonic sound opened a reserved-seat roadshow engagement at the Rivoli Theatre on October 10th, and ran for over one year (54 weeks).
Disney teen star Annette Funicello, who didn’t appear in “Pollyanna,” was a special guest performer in Leon Leonidoff’s spectacular stage revue.
The German actress went on to greater fame under her real name of Hildegard Knef, making many hit recordings as a singer/lyricist and writing two best-selling memoirs starting with “The Gift Horse.”
Like the original Queensboro, the Elmwood had one auditorium until “twinned” top and bottom. Subsequently, two additional screens were added to the ground floor, on the side adjacent to a parking area that has been since redeveloped with apartment buildings.
A recent view of the exterior and a brief update on the status of the building can be found at the “Forgotten New York” website at the very end of an article about National Street in Corona. Click here
Ad published on Sunday, May 30th, 1971, a day before the national observance of Memorial Day on the final Monday in May.
Opening weekend for “Telefon,” holdover for “Saturday Night Fever.”
Downtown’s patronage preferred double features, while Hollywood’s usually did not.
Opened on Friday, September 3rd, 1971, in advance of Labor Day on Monday, September 6th.
The State’s booking of “Happy Go Lucky” followed the Technicolor musical’s premiere engagement at the Paramount Theatre, where the stage show was topped by Les Brown’s Orchestra and comedian Gil Lamb.
The Palace’s booking of “Hello, Frisco, Hello” followed the Technicolor musical’s premiere engagement at the Roxy Theatre (with stage show).
Written, produced, and directed by Ben Hecht and Charles MacArthur, the B&W melodrama was made at Paramount’s studio in Astoria, Queens, and considered Noel Coward’s screen debut except for a juvenile bit part in the 1918 “Hearts of the World.” Praised by many critics but considered too sophisticated for the masses, the entire film can be viewed in a public domain print here
Industry was suffering a severe product shortage at the time. Joseph Vogel, head of the theatre division of Loew’s Inc., demanded that MGM book the much-anticipated Astaire-Rogers reunion into its own State Theatre rather than RCMH.
A new outdoor restaurant has opened directly behind Astoria World Manor, under the same ownership. News article can be viewed here