The gala event was for one performance only, to promote the opening of the B&W musical comedy two days later in midtown Manhattan at the Capitol Theatre (with stage show).
This appears to be the centerfold for a weekly program distributed at theatres. Only the Huntington Theatre is represented here. Perhaps the Shore was featured on the front cover, and the Station on the back? Or was this a program for the Huntington Theatre exclusively? The Huntington is still operating as a concert venue as the Paramount
The photo of a street stunt for a double bill of “Walking Dead” and “Revolt of the Demons” was one of the last published of the Lexington’s entrance before modernization the following year.
Comparison here
Warner Brothers had started leasing “legit” playhouses to showcase its increasing numbers of Vitaphone features. Lower left corner of the ad lists “The Singing Fool” at the Sam H. Harris Theatre on West 42nd Street. The Jolson musical had been bumped from the Winter Garden by “Noah’s Ark.”
The British import was a sequel of sorts to “Victoria The Great,” which had played at Radio City Music Hall in 1937. Anna Neagle and Anton Walbrook returned as Victoria and Albert, but this time in glorious Technicolor throughout. The previous feature was primarily in B&W, with
final scenes in color.
After a disappointing midtown debut, Republic’s rare Technicolor release didn’t reach the neighborhoods until late September, when the RKO circuit booked it as supporting feature to “I Was a Male War Bride.” Ad displayed here
Front corners of the Broadway Theatre marquee (lower right) had vertical signage for Cine Roma, the current tenant. Photo courtesy of NYC’s Municipal Archives.
Due to its Downtown Brooklyn location, the Metropolitan was exclusive first-run for the borough until the advent of “Showcase” distribution in the 1960s. But a product split with the Brooklyn Paramount, Fox, and RKO Albee deprived the “Met” of some films that ran on the Loew’s neighborhood circuit, causing frequent hold-overs, even when business didn’t warrant them.
Paramount made no attempt to coordinate with the Christian holy day of prayer, but delivered one of the “Golden Turkeys” of that Thanksgiving holiday season.
A “fast girlie show” was one that included strippers. NYC authorities had outlawed the usage of “burlesque” and “striptease” in the advertising and promotion of stage productions.
The dual engagement opened the previous day. At the time, the one-way subway fare between Brooklyn and Manhattan was five cents, with a nickel coin used at turnstiles. In 1948, the fare was raised by 100% to ten cents, with a dime replacing the nickel.
Part of a “live” B&W closed-circuit presentation at cinemas across the USA. Those on the West Coast started at 5:15 in the afternoon, which dented attendance considerably.
The United Artists release had previously played a test engagement at Loew’s Capitol in the nation’s capital, with no attempt to link with current events. Ad displayed here
20th-Fox’s second CinemaScope feature had its premiere engagement in midtown at both Loew’s State and Brandt’s Globe. An exclusive two-week run in downtown Brooklyn at the RKO Albee preceded the 67-theatre saturation.
The marketing for the B&W biography of one of America’s most beloved writers tried to capitalize on current wartime atrocities. Jack London actually died in 1916, but he did witness shocking conditions during the Russo-Japanese War of 1904, which he covered for stateside newspapers.
I don’t believe that “The Sound of Music” was released in Germany with all the songs cut. But the movie did prove unpopular in both Germany and neighboring Austria, as reported in this article
The gala event was for one performance only, to promote the opening of the B&W musical comedy two days later in midtown Manhattan at the Capitol Theatre (with stage show).
MGM’s anti-war drama was set seven years into the future, by which time some of its prophecies had become tragic realities.
This appears to be the centerfold for a weekly program distributed at theatres. Only the Huntington Theatre is represented here. Perhaps the Shore was featured on the front cover, and the Station on the back? Or was this a program for the Huntington Theatre exclusively? The Huntington is still operating as a concert venue as the Paramount
The photo of a street stunt for a double bill of “Walking Dead” and “Revolt of the Demons” was one of the last published of the Lexington’s entrance before modernization the following year. Comparison here
Warner Brothers had started leasing “legit” playhouses to showcase its increasing numbers of Vitaphone features. Lower left corner of the ad lists “The Singing Fool” at the Sam H. Harris Theatre on West 42nd Street. The Jolson musical had been bumped from the Winter Garden by “Noah’s Ark.”
The British import was a sequel of sorts to “Victoria The Great,” which had played at Radio City Music Hall in 1937. Anna Neagle and Anton Walbrook returned as Victoria and Albert, but this time in glorious Technicolor throughout. The previous feature was primarily in B&W, with final scenes in color.
After a disappointing midtown debut, Republic’s rare Technicolor release didn’t reach the neighborhoods until late September, when the RKO circuit booked it as supporting feature to “I Was a Male War Bride.” Ad displayed here
Front corners of the Broadway Theatre marquee (lower right) had vertical signage for Cine Roma, the current tenant. Photo courtesy of NYC’s Municipal Archives.
Due to its Downtown Brooklyn location, the Metropolitan was exclusive first-run for the borough until the advent of “Showcase” distribution in the 1960s. But a product split with the Brooklyn Paramount, Fox, and RKO Albee deprived the “Met” of some films that ran on the Loew’s neighborhood circuit, causing frequent hold-overs, even when business didn’t warrant them.
Paramount made no attempt to coordinate with the Christian holy day of prayer, but delivered one of the “Golden Turkeys” of that Thanksgiving holiday season.
If the Palace was the largest cinema in Connecticut, it goes without saying that it was also the largest in Bridgeport.
A “fast girlie show” was one that included strippers. NYC authorities had outlawed the usage of “burlesque” and “striptease” in the advertising and promotion of stage productions.
The dual engagement opened the previous day. At the time, the one-way subway fare between Brooklyn and Manhattan was five cents, with a nickel coin used at turnstiles. In 1948, the fare was raised by 100% to ten cents, with a dime replacing the nickel.
Ad for the Missouri Theatre’s grand opening on November 8th, 1920.
The closed-circuit B&W telecast originated in New York City at the Metropolitan Opera House, where it started at local time of two hours earlier.
Part of a “live” B&W closed-circuit presentation at cinemas across the USA. Those on the West Coast started at 5:15 in the afternoon, which dented attendance considerably.
Stage prologue described as “an operetta in itself.”
The United Artists release had previously played a test engagement at Loew’s Capitol in the nation’s capital, with no attempt to link with current events. Ad displayed here
By 7:00 that night, a Loew’s emergency team had replaced the screen, and the Criterion re-opened for business.
Howard Hawks was just the producer of the B&W combat drama, with longtime associate Richard Rosson as director.
20th-Fox’s second CinemaScope feature had its premiere engagement in midtown at both Loew’s State and Brandt’s Globe. An exclusive two-week run in downtown Brooklyn at the RKO Albee preceded the 67-theatre saturation.
“Cabaret” was actually produced in Munich, Germany, so I don’t think that the subject matter was ever a problem.
The marketing for the B&W biography of one of America’s most beloved writers tried to capitalize on current wartime atrocities. Jack London actually died in 1916, but he did witness shocking conditions during the Russo-Japanese War of 1904, which he covered for stateside newspapers.
I don’t believe that “The Sound of Music” was released in Germany with all the songs cut. But the movie did prove unpopular in both Germany and neighboring Austria, as reported in this article
The name “Ellantee” was apparently a pun on L&T, the abbreviation used by the Lubliner & Trinz circuit.