The Moving picture world (November 1926-December 1926)

November 29, 1926 MOVING PICTURE WORLD fHARMING scenes from Paramount's ^ "God Gave Me Twenty Cents," with Lya De Putti and Jack Miilhall, which opened the new Paramount theatre. Merely an inciSental to the formal opening, this picture at the same time proved to interest the brilliant audience, owing to the excellent work of the cast in a story of much merit. Paramount Building Marks Rapid Progress Of Single Generation (Continued from page 262) Helen Yorke, a coloratura soprano, sang Prosch's Variations for the Voice Iirilliantly and accurately, there was an addition showing the razing of the Putnam Building and the erection of the new house. Architects and builders marvel that the change should have been made within a twelve-month period, but the camera did it in less than two minutes. Maurice and his dancing partner followed ; the only special number, and this was followed by a Bruce Scenic and in turn by a formal "opening" of the organ by Jesse L. Crawford. Anderson Arranged Event The presentation was specially arranged by John Murray Anderson and this was notable more for its scenery and costuming than for the development of a good idea, though there was an interesting dip into history with an effort to reproduce the style of show current when the pictures were new. This included some old films, all of which were considerably later than the initial period. History here was somewhat misleading, for the Koster and Rial Music Hall was not on Herald Square, but occupied a site in Thirtyfourth street, which is now the most westerly portion of the Macy store. Then came the film feature, "God Gave Me Twenty Cents," which is reviewed elsewhere, and about half past twelve the audience was treated to a brief length showing the parade which had marked the afternoon celebration and a portion of the audience entering the theatre that evening. The cur tain fell abput twenty minutes to one, but it was nearly half an hour before the crowd finally dispersed. The regular opening occurred Saturday morning. The site of the Paramount Theatre was originally the farm of the Putnam family and for a long time was part of a series of grey fronted buildings with stores on the lower floor. There were two blocks of these, the other section now being occupied by the Hotel Astor. These were" known as the "Stonington," "Coddington," "Barrington" and another title with a similar ending. Back in the Beginning In 1897 Oscar Hammerstein startled the theatrical world by announcing that he would build a theatre on E'roadway between Forty-fourth and Forty-fifth streets, then known as the Olympia, but now the New York and Criterion Theatres. It was freely predicted that he never could draw the theatre crowd across the deadline of Forty-second street into the dimly lighted Longacre. Somehow he got them across, however, and in the process of time the shabby shops and hotels and the livery stable the block below Olympia were forced to give way to the march of progress. Their revenues no longer met carrying costs and so the old hotels came down. On the Paramount site there was erected a six-story "taxpayer" known as the Putnam Building, largely given to theatrical offices and serving as the first home of the reorganized Vaudeville Booking Offices. Some years ago, when tliese offices were 263 Great Structure Is Striking Municipal Decoration For the Metropolis transferred to the Palace Theatre, the building came into the hands of Paramount. The plot occupies the entire block on the west side of Broadway between Forty-third and Forty-fourth streets, about 200 feet, and has a depth slightly greater. The front elevation is given over to a forty-story office building terminating in a tower. In compHance with the building code of New York City the structure rises sheer to a distance twice the height of the street tvidth and then is carried up in "steps" or terraces permitting a line drawn at an angle of 45 degrees to cut the upper portion of each step, up to the tower proper, which occupies slightly less than the permitted 25 per cent, of the ground area. Description of Building Other tall buildings are in project, but these are largely of colored brick and metal and lack the majesty of this gleaming white structure. The Paramount has a dignity and individuality that is not to be found in the majority of the new structures. It is more than a building. It is a municipal decoration. It is about 400 feet to the crystal globe surmounting the tower. The rear portion of the plot is given over to the theatre proper, and here the building, under the law, cannot rise above the roof of the theatre. The lobby, however, runs through the south side of the office building to Broadway, where an arch, five stories in height gives an imposing entrance. This entrance gives upon the grand foyer which rises to a height of eighty feet, with balconies on all floors looking down upon the grand stairway at the far end somewhat suggestive of the Paris Opera House. The lower floor is on the street level with a mezzanine, seating about 400 under the balcony. There is no gallery, but a promenade above the projection floor gives a view of the interior with additional galleries on the sides as the pitched balcony rises to the various floor levels. Soft Tones Are Used The auditorium has been scaled to cut its apparent size and to give the suggestion of intimacy rather than vastness, while the decorative scheme is notable for its intelligent use of soft, light tones rather than garish color and gilt. There is nothing oppressive about the interior. It suggests appreciation rather than awe. The orchestra pit has chairs for about fifty men and is of the disappearing type with the improvement that if required the entire orchestra may be transferred to the stage and the apron space used for soloists or presentation. The organ console is at the right and on its own elevator. The stage proper is finished in plaster as a cyclorama, but it also is provided with a full set of drops. All lighting is controlled from a singe switchboard and is of the most modern type. Below the auditorium are numerous rooms for the comfort of the patrons ; a general lounge, smoking rooms for both men and women, dressing rooms and all other conveniences. The entire plan is elegance without undue ostentation, richness without oppression. Perfect taste has controlled the expenditures and the result is a house that is friendly, (Continued on page 270)