In Brooklyn that holiday season, Loew’s Met had to compete not only with Alan Freed’s “Jubilee of Stars” on the Brooklyn Paramount’s stage, but also a Rhythm & Blues revue at the Empire Theatre in Bushwick.
Variety reported that the one-week booking grossed a “terrific” $40,000, which was twice the $20,000 registered the previous stanza with a double bill of “Up in Central Park” and “Fighting Mad.”
This was a subsequent-run booking, following Brooklyn premiere showings on the Loew’s circuit starting with the downtown Metropolitan and then to the other Loew’s neighborhood sites.
The title of the main feature had been changed from “Revolt of the Zombies” pending settlement of a legal dispute with another producer who claimed to have exclusive rights to the “Z” word.
Management claimed 6,200 seats were available for each complete show, with tickets being sold at six box offices. One thousand of those seats were in the premium-priced mezzanine.
When Fabian assumed management of the Fox and Brooklyn Paramount, the Strand was reduced to move-overs from the two larger theatres, exploitation packages, and occasional stage/screen presentations.
This was the Easter Sunday of that year. “King Kong” was direct from its shared premiere at the two Radio City showplaces. Prior to the Music Hall, “Cavalcade” had a reserved-seat engagement on Broadway at the Gaiety Theatre.
By that time, the Capitol and Loew’s State had dropped stage presentations, but the Warner (ex-Strand) had just resumed them
The RKO Palace had switched to reserved-seat vaudeville, with Betty Hutton as the current headliner.
It should be noted that the Hillside was no longer operated by Loew’s by that time, and that the Loew’s name had been removed from signage and advertising/publicity. Yet Marzlock starts his article by incorrectly stating that Loew’s Hillside went burlesque in December 1965.
Ad claimed that “Quo Vadis” was being presented “with nothing cut but the prices” of the dual Broadway premiere engagement at the Capitol and Astor Theatres. But the circuit was still charging prices higher than regular for the Technicolor epic.
The El Capitan’s initial movie premiere also marked the first time that “bleachers” were erected nearby on Hollywood Boulevard for the thousands of spectators that were expected at the gala event.
In Brooklyn that holiday season, Loew’s Met had to compete not only with Alan Freed’s “Jubilee of Stars” on the Brooklyn Paramount’s stage, but also a Rhythm & Blues revue at the Empire Theatre in Bushwick.
Easter Sunday fell on April 21st in that year, the same configuration as in 2019.
Opened on April 20th, 1935, the day before Easter Sunday of that year. An alternate ad is displayed here
Opened on April 17th, 1965, the day before the Easter Sunday of that year.
With “Atragon” on screen, the 9-day booking opened on April 17th, 1965, the day before Easter Sunday.
The supporting John Wayne feature was originally released in 1944.
Variety reported that the one-week booking grossed a “terrific” $40,000, which was twice the $20,000 registered the previous stanza with a double bill of “Up in Central Park” and “Fighting Mad.”
This was a subsequent-run booking, following Brooklyn premiere showings on the Loew’s circuit starting with the downtown Metropolitan and then to the other Loew’s neighborhood sites.
With the world premiere of “Cardinal Richelieu” on screen, the Easter holiday presentation opened on April 18th, 1935. Ad displayed here
The title of the main feature had been changed from “Revolt of the Zombies” pending settlement of a legal dispute with another producer who claimed to have exclusive rights to the “Z” word.
Management claimed 6,200 seats were available for each complete show, with tickets being sold at six box offices. One thousand of those seats were in the premium-priced mezzanine.
When Fabian assumed management of the Fox and Brooklyn Paramount, the Strand was reduced to move-overs from the two larger theatres, exploitation packages, and occasional stage/screen presentations.
This was the Easter Sunday of that year. “King Kong” was direct from its shared premiere at the two Radio City showplaces. Prior to the Music Hall, “Cavalcade” had a reserved-seat engagement on Broadway at the Gaiety Theatre.
This was three days before the Easter Sunday of that year.
Who knew that in just a few years time, the comedy duo and the Lopez band singer would join the ranks of Hollywood’s most popular screen stars?
Easter Sunday fell on April 17th that year.
A charity gala for the benefit of the Lighthouse For the Blind was held the night before (October 15th).
“Casablanca” was having its first showings in Queens, and at the affiliated Skouras Astoria Theatre as well.
By that time, the Capitol and Loew’s State had dropped stage presentations, but the Warner (ex-Strand) had just resumed them The RKO Palace had switched to reserved-seat vaudeville, with Betty Hutton as the current headliner.
The circuit’s advertising often used word play with the name “Loew,” using it instead of “lo” and/or “low,” which had the same pronunciation.
It should be noted that the Hillside was no longer operated by Loew’s by that time, and that the Loew’s name had been removed from signage and advertising/publicity. Yet Marzlock starts his article by incorrectly stating that Loew’s Hillside went burlesque in December 1965.
The popular eatery was adjacent to the Rialto Theatre, whose management was quite distressed over competition from the spectacular new arrival.
Ad claimed that “Quo Vadis” was being presented “with nothing cut but the prices” of the dual Broadway premiere engagement at the Capitol and Astor Theatres. But the circuit was still charging prices higher than regular for the Technicolor epic.
A B&W short subject covering the world premiere of MGM’s “Grand Hotel” at Grauman’s Chinese Theatre in 1932 can be viewed here
The El Capitan’s initial movie premiere also marked the first time that “bleachers” were erected nearby on Hollywood Boulevard for the thousands of spectators that were expected at the gala event.