Prior to the 1960s, Downtown Brooklyn was a city in itself, packed with large department stores that attracted shoppers from all over the borough, as well as Queens and lower Manhattan. Starting with the Strand and Loew’s Metropolitan and followed by the Keith-Albee, Fox Theatre, and Brooklyn Paramount, it also became an entertainment mecca with exclusive first-run status, for a time even day-and-date with Broadway. After William Fox’s bankruptcy, the RKO circuit got the contract for Fox (and subsequent 20th-Fox) product, which is the reason why the Albee and not the Fox Theatre became the Downtown Brooklyn showcase for that studio. Taken over by Fabian, the Fox depended primarily on Warner Brothers and Columbia product. The Brooklyn Paramount still focused on Paramount releases, but with Fabian management instead of bankrupted Paramount-Publix. The Metropolitan remained solidly MGM and United Artists. In addition to Fox, the Albee also was the showcase for RKO Radio product. Universal product was usually split between the Albee and Metropolitan.
“Shane” was shown in standard 1:33 ratio at most Loew’s, including the borough-leading Valencia and Paradise. At this date, Loew’s had wide screen projection only at the State, 175th Street, and Orpheum in Manhattan; the Spooner in the Bronx, and the Boro Park in Brooklyn.
Also, at the midtown Capitol, which was not marketed to the public with a Loew’s connection.
At both the Music Hall and Brooklyn Paramount, “Shane” was shown in 1:66 ratio, which Paramount Pictures, for the time being at least, considered the ideal for wide-screen projection. But the vast majority of Greater New York cinemas had yet to be equipped for it, so “Shane” was shown in standard 1:33 at most neighborhood houses, including many of the Loew’s circuit.
After launching the wide-screen era at Radio City Music Hall, “Shane” did the same for the Brooklyn Paramount, where it played exclusively as a single feature to permit more performances.
The dance hall industry was competing for much of the same public as movies, so some of the allegations were probably exaggerated or even non-existent. A dime spent at a dance hall could be a dime lost for a cinema.
“Fort Ti” was direct from its Broadway debut at the Criterion Theatre, and would hit the Loew’s neighborhood circuit after its exclusive Brooklyn run at the Fox.
Both circuits opened their holiday programs on Wednesday, June 29th, looking forward to a three-day weekend including Independence Day on Monday (7/04/55).
Cinemas 1,2,3 on the East Side have a general admission of $19, $16 for kids and seniors, and $10 for shows starting before noon. Also an extra $3.50 for a 3-D feature and $2.00 for 70mm presentations. How do those prices compare to the two multi-screens on West 42nd Street?
I don’t think that would work for the info I’m seeking, which is prices charged at box office for walk-in patrons. Prices paid on the internet always include a variable “service fee,” don’t they?
At the time, Olive Thomas was married to actor Jack Pickford, the younger brother of Mary Pickford. Two years later, while the couple was vacationing in Paris, Olive Thomas died at age 25 under puzzling circumstances that were probably accidental.
What is the current range of ticket prices here? It’s information not readily available at their website. It seems that you actually have to start placing an order before they tell you what each ticket will cost.
Fourth of July holiday presentation for that year…Art work for “Bright Leaf” has a major error, showing a star who wasn’t in the film but would be in Gary Cooper’s next.
Advertising heavily in Brooklyn and NYC newspapers, Brandt intended to change programs only once a week, or at least during the summer season when Coney Island crowds were at their peak. “Daddy Long Legs” reportedly played to 95% of capacity for the week.
100 years ago, Feltman’s Restaurant & Beer Garden was the largest and most popular eatery in Coney Island, world-famous for transforming frankfurters into sizzling “hot dogs.” Feltman’s Airdome was a concession run by William Brandt that occupied space between outdoor dining tables and the ocean boardwalk.
Prior to the 1960s, Downtown Brooklyn was a city in itself, packed with large department stores that attracted shoppers from all over the borough, as well as Queens and lower Manhattan. Starting with the Strand and Loew’s Metropolitan and followed by the Keith-Albee, Fox Theatre, and Brooklyn Paramount, it also became an entertainment mecca with exclusive first-run status, for a time even day-and-date with Broadway. After William Fox’s bankruptcy, the RKO circuit got the contract for Fox (and subsequent 20th-Fox) product, which is the reason why the Albee and not the Fox Theatre became the Downtown Brooklyn showcase for that studio. Taken over by Fabian, the Fox depended primarily on Warner Brothers and Columbia product. The Brooklyn Paramount still focused on Paramount releases, but with Fabian management instead of bankrupted Paramount-Publix. The Metropolitan remained solidly MGM and United Artists. In addition to Fox, the Albee also was the showcase for RKO Radio product. Universal product was usually split between the Albee and Metropolitan.
“Shane” was shown in standard 1:33 ratio at most Loew’s, including the borough-leading Valencia and Paradise. At this date, Loew’s had wide screen projection only at the State, 175th Street, and Orpheum in Manhattan; the Spooner in the Bronx, and the Boro Park in Brooklyn. Also, at the midtown Capitol, which was not marketed to the public with a Loew’s connection.
At both the Music Hall and Brooklyn Paramount, “Shane” was shown in 1:66 ratio, which Paramount Pictures, for the time being at least, considered the ideal for wide-screen projection. But the vast majority of Greater New York cinemas had yet to be equipped for it, so “Shane” was shown in standard 1:33 at most neighborhood houses, including many of the Loew’s circuit.
After launching the wide-screen era at Radio City Music Hall, “Shane” did the same for the Brooklyn Paramount, where it played exclusively as a single feature to permit more performances.
The dance hall industry was competing for much of the same public as movies, so some of the allegations were probably exaggerated or even non-existent. A dime spent at a dance hall could be a dime lost for a cinema.
I don’t think so, unless possibly in the periphery. Ravel’s “Bolero” was a specialty of the resident Ballet Corps.
Another stage reprise for Ravel’s “Bolero,” this time for the 4th of July holiday season.
The highly fictionalized biopic of Broadway luminary Marilyn Miller was part of the stage/screen offering for the 4th of July season of 1949.
“Fort Ti” was direct from its Broadway debut at the Criterion Theatre, and would hit the Loew’s neighborhood circuit after its exclusive Brooklyn run at the Fox.
Both circuits opened their holiday programs on Wednesday, June 29th, looking forward to a three-day weekend including Independence Day on Monday (7/04/55).
Ad boosted the Chicago and other Balaban & Katz showcases in the Loop.
The redhead’s first feature in color, and the second for the bleached blonde.
Cinemas 1,2,3 on the East Side have a general admission of $19, $16 for kids and seniors, and $10 for shows starting before noon. Also an extra $3.50 for a 3-D feature and $2.00 for 70mm presentations. How do those prices compare to the two multi-screens on West 42nd Street?
Ad published on July 2nd, 1969, a period when the Cinerama Theatre was under Pacific East management.
I don’t think that would work for the info I’m seeking, which is prices charged at box office for walk-in patrons. Prices paid on the internet always include a variable “service fee,” don’t they?
Advance ad for opening on July 3rd, 1969, a day prior to a three-day national holiday weekend.
At the time, Olive Thomas was married to actor Jack Pickford, the younger brother of Mary Pickford. Two years later, while the couple was vacationing in Paris, Olive Thomas died at age 25 under puzzling circumstances that were probably accidental.
What is the current range of ticket prices here? It’s information not readily available at their website. It seems that you actually have to start placing an order before they tell you what each ticket will cost.
Fourth of July holiday presentation for that year…Art work for “Bright Leaf” has a major error, showing a star who wasn’t in the film but would be in Gary Cooper’s next.
The B&W epic had premiered at the Liberty Theatre on West 42nd Street in March of the previous year.
Advertising heavily in Brooklyn and NYC newspapers, Brandt intended to change programs only once a week, or at least during the summer season when Coney Island crowds were at their peak. “Daddy Long Legs” reportedly played to 95% of capacity for the week.
See Feltman’s comment posted here
Shadow of the nail is pointing south towards West 47th Street.
100 years ago, Feltman’s Restaurant & Beer Garden was the largest and most popular eatery in Coney Island, world-famous for transforming frankfurters into sizzling “hot dogs.” Feltman’s Airdome was a concession run by William Brandt that occupied space between outdoor dining tables and the ocean boardwalk.
This proved to be the final summer season for the Roxy, which closed forever in February, 1960 and was promptly reduced to rubble.