In her autobio O'Hara’s story about the billing is pretty funny.
It was in her contract to have star billing which she does have. But as you can see Uncle Walt pulled a fast one on her. She was not happy. Her lawyer told her not to go near it. Walt would nail her to the wall.
I think this is also the film where they do some of the laughing trio from the first scene of Cosi Fan Tutte.
Had he had an operatic stage career he could have been also a fine Mozartean tenor. It shows he would have had an extraordinary range from Otello to Ferrando. No tenor from this golden age of singing could have done such disparate demanding roles. He was unique.
I liked Doris Day. The material was embarrassing junk. And I didn’t say I didn’t think Norman Jewison wasn’t a good director. But having Garner sit on Pitts' bed in the middle of the night(idiotic)and her screaming and quitting her job. The whole stupid thing with the tomatoes. What did she have in the suburbs? A tomato farm? Arlene Francis an old woman pregnant…the kids in their dripping wet underwear, I could go on but if you like it what can I say? Even Day said a lot of her movies weren’t very good. This is one of them. Crude and vulgar and a harbinger of the dreadful stuff to come to the fore in the later 60s and 70s.
I won’t even going into the idiocy of the floating bubbles in the shape of naked ladies. You thought this was cute and funny? I though sheesh this is awful.
One of those family smutty 60s comedies where Zasu Pitts accuses James Garner of attempted rape, a 58 year old Arlene Francis becomes pregnant and children run around in wet underwear. This is supposed to be hilarious.
Note Conrad Ludlow a NYCB principal is featured with the ballet company.
The previous stage show with Prince and the Showgirl featured another of that company’s principals Melissa Hayden(who also ‘dubbed’ Claire Bloom’s body in Chaplin’s Limelight.)
Maybe it wasn’t ready but Affair should have replaced Designing Woman. Silk Stockings was a perfect Music Hall film and one at the top of my list if I could go back in time to see films there.
What I don’t understand is why it didn’t play Walk Don’t Run when the Music Hall could have used a Grant film in ‘66. There were so many mediocre films that year and it could have followed Million. Even the Times review of Walk asks that question.
Probably the dreariest Easter show ever. Another what were they thinking film. Not that the Music Hall had much of a choice. Hepburn said, I could have done without the rotten apples at the end.'
Considering the seemingly endless acres of empty seats at every performance audiences could do without the film.
And what was truly astounding was that the stage show was in Black and white! An Easter show in black and white!
It’s like everyone at the Hall had it in for the place.
I saw every Glory of Easter I could because it was so beautiful and the only thing that held on to what was great about the theater. When it was revived after the stage and screen show era they must have lost the original lighting charts because the lighting was pretty much lights on lights off. The lighting of the original which they kept through the 70s was gorgeous.
It was also I believe the last Easter show to have the religious icons on the choral stairs.
Would love to know who designed it and what year it was first presented. I think the first Easter show(Cavalcade second run) had a Good Friday tableaux.
New Orleans' Whorehouse. Yes, exactly! That’s hilarious.
By the way I read somewhere in an interview with George Cukor probably sometime during the 70s and he couldn’t understand the love people had for the movie palaces. He thought they were pretty tacky!
Seems like it might have been even less. With a final stage show at 9:30 and a final film at 9:58 and then you need to have at least a few minutes break this was very tight.
A large gaudy red wallpapered shoebox. With gold curtain and accents.
Never understood the love for this theater when there were the Rivoli, the Criterion and the Warner Cinerama still around into the 80s. Great theaters.
All of them were worth preserving but not this one. Yeah I know I’m in the minority but boy was I disappointed when I first entered it in ‘72.
I never got its mystique and I went quite a few times only because it often had movies I wanted to see. I just wished I was seeing them in other NY cinemas. Even east side places like Cinema 1, the Beekman, the Little Carnegie(ok midtown) and the Coronet were far superior.
Divans-how good could they be at $4.25 for a weekend evening? The far classier Criterion loge seats were $5.50 back in ‘64 and were $6 for tickets they were selling in advance for Funny Girl. Clearly the middle class Capitol even on hardticket was for the hoi polloi.
The sale of Broadway’s most beautiful theater was criminal. Nederlander probably pocketed a fortune with the sale and with all the tax breaks he was getting from the city for his theaters he should have been thrown right into jail for stealing taxpayers money.
My goodness this was nothing more than a 35mm cinemascope blown up?! That’s all Cinemiracle was?
Wonderful single screen theater. Saw Sting here to a packed house.
As per The Parent Trap ad:
In her autobio O'Hara’s story about the billing is pretty funny.
It was in her contract to have star billing which she does have. But as you can see Uncle Walt pulled a fast one on her. She was not happy. Her lawyer told her not to go near it. Walt would nail her to the wall.
I think this is also the film where they do some of the laughing trio from the first scene of Cosi Fan Tutte.
Had he had an operatic stage career he could have been also a fine Mozartean tenor. It shows he would have had an extraordinary range from Otello to Ferrando. No tenor from this golden age of singing could have done such disparate demanding roles. He was unique.
Like the interior of a Faberge Easter egg made for the imperial family.
Entertaining film but for a man in his 30s he does not look good in this.
A great talent.
I now see the picture I was referring to was posted March 3rd.
Hard to believe such a New York once existed.
And just within one city block.
I liked Doris Day. The material was embarrassing junk. And I didn’t say I didn’t think Norman Jewison wasn’t a good director. But having Garner sit on Pitts' bed in the middle of the night(idiotic)and her screaming and quitting her job. The whole stupid thing with the tomatoes. What did she have in the suburbs? A tomato farm? Arlene Francis an old woman pregnant…the kids in their dripping wet underwear, I could go on but if you like it what can I say? Even Day said a lot of her movies weren’t very good. This is one of them. Crude and vulgar and a harbinger of the dreadful stuff to come to the fore in the later 60s and 70s.
I won’t even going into the idiocy of the floating bubbles in the shape of naked ladies. You thought this was cute and funny? I though sheesh this is awful.
Marsha Hunt is still with us and will be 100 in Oct.
Magnificent screen.
If there were only one like it today for 70mm festivals!
One of those family smutty 60s comedies where Zasu Pitts accuses James Garner of attempted rape, a 58 year old Arlene Francis becomes pregnant and children run around in wet underwear. This is supposed to be hilarious.
Carl Reiner’s fingerprints are all over it.
Beyond bizarre.
I wonder why we don’t have dancing accordionists any more. I bet he alone was worth the 99 cents.
Note Conrad Ludlow a NYCB principal is featured with the ballet company.
The previous stage show with Prince and the Showgirl featured another of that company’s principals Melissa Hayden(who also ‘dubbed’ Claire Bloom’s body in Chaplin’s Limelight.)
Whoever he is he’s very stylishly dressed.
Maybe it wasn’t ready but Affair should have replaced Designing Woman. Silk Stockings was a perfect Music Hall film and one at the top of my list if I could go back in time to see films there.
What I don’t understand is why it didn’t play Walk Don’t Run when the Music Hall could have used a Grant film in ‘66. There were so many mediocre films that year and it could have followed Million. Even the Times review of Walk asks that question.
I’ve never seen such a long timing for a stage show! The Rockettes and Madame Butterfly 4xs a day? Whew.
Even the audience must have left exhausted.
CC posted the Robin and Marian ad.
Probably the dreariest Easter show ever. Another what were they thinking film. Not that the Music Hall had much of a choice. Hepburn said, I could have done without the rotten apples at the end.'
Considering the seemingly endless acres of empty seats at every performance audiences could do without the film.
And what was truly astounding was that the stage show was in Black and white! An Easter show in black and white! It’s like everyone at the Hall had it in for the place.
I saw every Glory of Easter I could because it was so beautiful and the only thing that held on to what was great about the theater. When it was revived after the stage and screen show era they must have lost the original lighting charts because the lighting was pretty much lights on lights off. The lighting of the original which they kept through the 70s was gorgeous.
It was also I believe the last Easter show to have the religious icons on the choral stairs.
Would love to know who designed it and what year it was first presented. I think the first Easter show(Cavalcade second run) had a Good Friday tableaux.
New Orleans' Whorehouse. Yes, exactly! That’s hilarious.
By the way I read somewhere in an interview with George Cukor probably sometime during the 70s and he couldn’t understand the love people had for the movie palaces. He thought they were pretty tacky!
Seems like it might have been even less.
With a final stage show at 9:30 and a final film at 9:58 and then you need to have at least a few minutes break this was very tight.
A large gaudy red wallpapered shoebox. With gold curtain and accents.
Never understood the love for this theater when there were the Rivoli, the Criterion and the Warner Cinerama still around into the 80s. Great theaters.
All of them were worth preserving but not this one. Yeah I know I’m in the minority but boy was I disappointed when I first entered it in ‘72.
I never got its mystique and I went quite a few times only because it often had movies I wanted to see. I just wished I was seeing them in other NY cinemas. Even east side places like Cinema 1, the Beekman, the Little Carnegie(ok midtown) and the Coronet were far superior.
Of course if you had real class you had reserved seats to see GWTW at the Astor rather than waiting on line to see it with the mobs at the Capitol.
Bill I so envy you!
Divans-how good could they be at $4.25 for a weekend evening? The far classier Criterion loge seats were $5.50 back in ‘64 and were $6 for tickets they were selling in advance for Funny Girl. Clearly the middle class Capitol even on hardticket was for the hoi polloi.
Was there a curtain behind them? As older pictures show on this page the lower balcony was separated by a curtain from the upper balcony.
I wonder how the seating was configured for the roadshow Windjammer at the Roxy. I doubt they were selling the entire house.
The sale of Broadway’s most beautiful theater was criminal. Nederlander probably pocketed a fortune with the sale and with all the tax breaks he was getting from the city for his theaters he should have been thrown right into jail for stealing taxpayers money.