This was actually a publicity event that included a western parade on 125th Street with “Rochester” in cowboy outfit. The movie opened officially the next day at the Paramount Theatre in Times Square.
Festivities for the gala invitational screening were covered by a local TV station. The wide-screen musical was already in its world premiere roadshow engagement at the Rivoli Theatre in New York City.
Using portions of the Egyptian’s original décor, the 616-seat auditorium is operated by the American Cinematheque, a non-profit cultural organization that also runs screenings at the Aero Theatre in Santa Monica. At the Egyptian, American Cinematheque also has a small screening room named in honor of producer-director Stephen Spielberg.
All six of MGM’s “Tarzan” adventures with Johnny Weissmuller and Maureen O'Sullivan had their New York premiere engagements at the Capitol Theatre. Ads have been posted in the Photos Section…After “New York Adventure,” MGM sold its rights to independent producer Sol Lesser, who made a distribution deal with RKO starting with “Tarzan Triumphs.”
MGM’s fifth “Tarzan” feature was the first of the series to be released since the USA entered WWII, but contained no references to the conflict. That was left to shorts and newsreels on the supporting program.
The “last picture show” at the Globe Theatre was Elia Kazan’s “A Face In The Crowd,” which opened with a world premiere performance on May 28th, 1957, and ran for nine weeks, closing on July 28th, according to Variety. Images have been posted in the Photos Section.
This was the first “Tarzan” to open at the Capitol without support from a stage show. In 1935, the theatre had switched to an “Everything on the screen” policy to combat Depression conditions.
Ads posted for “A Chorus Line” in the Photos Section may have created a false impression that the movie actually played an engagement at the Music Hall. But this so-called “world premiere” on the night of December 9th, 1985 was actually for just one screening only as part of a fund-raising charity affair. It was on the same night as the annual lighting of the Christmas tree in Rockefeller Center, so the area was already packed with sightseers by the time celebrities and VIPs started arriving at the Music Hall.
The Technicolor musical had previously played for six months at the Astor Theatre as a reserved-seat roadshow.
At this time, the Roxy was in desperate straits due to the start of the Depression and William Fox’s bankruptcy.
In October, 1956, “Giant” broke CinemaScope’s grip on the Roxy and received only wide screen projection at 1:66 ratio. Ads mentioned only the film being photographed in WarnerColor.
Snapped outside Loew’s Victoria after the parade.
This was actually a publicity event that included a western parade on 125th Street with “Rochester” in cowboy outfit. The movie opened officially the next day at the Paramount Theatre in Times Square.
By the time of the sequel to “The Thin Man,” the Capitol had dropped stage shows for an “Everything on the screen” policy.
Festivities for the gala invitational screening were covered by a local TV station. The wide-screen musical was already in its world premiere roadshow engagement at the Rivoli Theatre in New York City.
The film opened that same day in midtown Manhattan at the Capitol Theatre, with Duke Ellington & His Orchestra topping the stage bill.
The film opened that same day in downtown Brooklyn at Loew’s Metropolitan, but, of course, with different stage presentation.
Using portions of the Egyptian’s original décor, the 616-seat auditorium is operated by the American Cinematheque, a non-profit cultural organization that also runs screenings at the Aero Theatre in Santa Monica. At the Egyptian, American Cinematheque also has a small screening room named in honor of producer-director Stephen Spielberg.
All six of MGM’s “Tarzan” adventures with Johnny Weissmuller and Maureen O'Sullivan had their New York premiere engagements at the Capitol Theatre. Ads have been posted in the Photos Section…After “New York Adventure,” MGM sold its rights to independent producer Sol Lesser, who made a distribution deal with RKO starting with “Tarzan Triumphs.”
The sixth and last of the MGM “Tarzan” adventures brought him to the Big Apple for a spectacular leap off the Brooklyn Bridge.
Leonidoff’s “Angles” was the revue supporting John Ford’s “The Informer” at the Music Hall in May, 1935.
The chiller ran for one week only, with the Rialto closing forever after the last evening performance of May 15th, 1935.
This shows the marquee of the second Rialto Theatre, and should be moved to that listing.
MGM’s fifth “Tarzan” feature was the first of the series to be released since the USA entered WWII, but contained no references to the conflict. That was left to shorts and newsreels on the supporting program.
This was a world premiere for the movie, which was supported at the Music Hall by a stage show.
MGM’s fourth “Tarzan” adventure arrived while the New York World’s Fair was getting into full swing.
The “last picture show” at the Globe Theatre was Elia Kazan’s “A Face In The Crowd,” which opened with a world premiere performance on May 28th, 1957, and ran for nine weeks, closing on July 28th, according to Variety. Images have been posted in the Photos Section.
The world premiere of the first CinemaScope feature had been held eight days earlier, at the Roxy Theatre in New York City on September 16th, 1953.
This was the first “Tarzan” to open at the Capitol without support from a stage show. In 1935, the theatre had switched to an “Everything on the screen” policy to combat Depression conditions.
Two years had passed since MGM’s first “Tarzan” epic opened at the Capitol.
Ads posted for “A Chorus Line” in the Photos Section may have created a false impression that the movie actually played an engagement at the Music Hall. But this so-called “world premiere” on the night of December 9th, 1985 was actually for just one screening only as part of a fund-raising charity affair. It was on the same night as the annual lighting of the Christmas tree in Rockefeller Center, so the area was already packed with sightseers by the time celebrities and VIPs started arriving at the Music Hall.
The Technicolor musical had previously played for six months at the Astor Theatre as a reserved-seat roadshow. At this time, the Roxy was in desperate straits due to the start of the Depression and William Fox’s bankruptcy.
The stage show booking was a career breakthrough for the young team of Dean Martin and Jerry Lewis.
Performances were continuous and at “popular” prices. 250 reserved seats in the mezzanine were priced slightly higher and could be booked in advance.
In center background is Loew’s Victoria marquee with double feature of “Odds Against Tomorrow” and “Timbuktu.”
In October, 1956, “Giant” broke CinemaScope’s grip on the Roxy and received only wide screen projection at 1:66 ratio. Ads mentioned only the film being photographed in WarnerColor.