Word: cinemas
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Dates: during 1930-1939
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Under the auspices of the Dramatic Club, Charles J. Olson, instructor in English, will give a talk on "Necessary Distinctions Between Drama, Cinema, Theatre," over station WAAB at 7:45 o'clock today...
Therefore, last week when Manhattanites thronged the Metropolitan Opera to hear & see a new Rodolfo, Polish Tenor Jan Kiepura's exploits as Central Europe's cinema idol were no particular recommendation. But they found before the performance was over that a virile figure was not Kiepura's only asset. Tall, handsome Kiepura overacted at times, flopped melodramatically upon the prostrate corpse of Mimi. But his singing was agreeably robust, warm in tone quality. Applauding oldsters agreed that there was nothing the matter with Kiepura's diaphragm...
...Cinema theatres that show double features make more money than single-feature theatres. To the motion picture industry that fact is clear indication that double features are what the public wants. But anybody who has ever eaten too much candy knows that what the public wants and what it ought to get may be two different things. Last week in two important cinema centres the double feature was getting a thorough going over, to determine 1) whether the public really prefers the double bill, and 2) whether its eyes are not bigger than its stomach...
Manhattan. A few weeks before Christmas, Cue, a Manhattan magazine devoted almost entirely to cinema & theatre news, polled its 19,000 subscribers, found they stood 9-to-1 against the double bill. Last fortnight Cue decided to broaden the scope of its inquiry, queried 150,000 residents of Greater New York, New Jersey, Long Island, Westchester and Connecticut. Last week first results of Cue's new poll were in. Fran Darien. Conn, down through the towns and villages flanking Long Island Sound, and in sections of New York City, the double feature was taking a decisive beating, ranging from...
Romance in the Dark (Paramount) is like most other attempts to hitch the Hollywood wagon to a grand opera star. Its heroine is brunette, oval-faced Mezzo-Soprano Gladys Swarthout, prettiest and most adaptable of the cinema-minded opera singers. Most singing stars by this time walk blindfolded through the story of the girl who has to submit to subterfuge, disguise and heartache to get her chance. Miss Swarthout's version of this old story is pleasantly ingenuous. But with aging John Barrymore pitting his serrated profile against John Boles's open-mouthed full face in a battle...