Hubbry Logo
Marcus LoewMarcus LoewMain
Open search
Marcus Loew
Community hub
Marcus Loew
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Marcus Loew
Marcus Loew
Marcus Loew
View on Wikipedia
from Wikipedia
Loew in 1922

Key Information

Marcus Loew (/loʊ/ LOH;[1] May 7, 1870 – September 5, 1927)[2] was an American business magnate and a pioneer of the motion picture industry who formed Loew's Theatres and the Metro-Goldwyn-Mayer film studio (MGM).

Life and career

[edit]

Loew was born in New York City on May 7, 1870, into a poor Jewish[3] family, who had emigrated to New York City a few years previously from Austria and Germany.[4] He was forced by circumstances to work at a very young age and had little formal education. Beginning with a small amount of money saved from menial jobs, he invested in the penny arcade business. Shortly after, in partnership with Adolph Zukor and others, he founded the successful but short-lived Automatic Vaudeville Company which established a chain of arcades across several cities. After the company dissolved in 1904 Loew converted his share of the business into nickelodeons and over time he turned Loew's Theatres into a leading chain of vaudeville and movie theaters in the United States.

By 1905, Marcus Loew was on his own and his success eventually meant that he needed a steady flow of films for his theaters. In 1904, he founded the People's Vaudeville Company, a theater chain showcasing one-reel films and live variety shows. In 1910, the company had considerably expanded and was renamed Loew's Consolidated Enterprises.[5] His associates included Adolph Zukor, Joseph Schenck, and Nicholas Schenck. In addition to theaters, Loew and the Schencks expanded the Fort George Amusement Park in upper Manhattan.

Marcus Loew in his office, ca.1914

By 1913, Loew operated a large number of theaters in New York City including the American Music Hall, Avenue A Theatre, Avenue B Theatre, Broadway Theatre (41st St.), Circle Theatre, and the Columbia Theatre in Brooklyn. Other Loew-operated theaters were the Delancey St. Theatre, Greeley Sq. Theatre, Herald Square Theatre, Liberty Theatre, Brooklyn, Lincoln Sq. Theatre, National Theatre (149th St.), Plaza Theatre, 7th Ave. Theatre (124th St.), Shubert Theatre, Brooklyn, and the Yorkville Theatre.[6] Outside of New York, he managed the Columbia Theatres of both Washington, D.C.,[7][8] and Boston and Philadelphia’s Metropolitan Opera House.[6]

Loew found himself faced with a serious dilemma: his merged companies lacked a central managerial command structure. Loew preferred to remain in New York overseeing the growing chain of Loew's Theatres. Film production had been gravitating toward southern California since 1913. By 1917 he oversaw a number of enterprises: Borough Theatre Co., Empress Amusement Corp., Fort George Amusement Co., Glendive Amusement Corp., Greeley Square Amusement Co., Loew's Consolidated Enterprise, Loew's Theatrical Enterprises, Mascot Amusement Co., Natonia Amusement Co., People's Vaudeville Co.[9] In 1919, Loew reorganized the company under the name Loew's, Inc.[10]

In 1920, Loew purchased Metro Pictures Corporation. A few years later, he acquired a controlling interest in the financially troubled Goldwyn Picture Corporation which at that point was controlled by theater impresario Lee Shubert. Goldwyn Pictures owned the "Leo the Lion" trademark and studio property in Culver City, California. But without its founder Samuel Goldwyn, the Goldwyn studio lacked strong management. With Loew's vice president Nicholas Schenck needed in New York City to help manage the large East Coast movie theater operations, Loew had to find a qualified executive to take charge of this new Los Angeles entity.

Loew recalled meeting a film producer named Louis B. Mayer who had been operating a successful, modest studio in east Los Angeles. Mayer had been making low budget melodramas for a number of years, marketing them primarily to women. Since he rented most of his equipment and hired most of his stars on a per-picture basis, Loew wasn't after Mayer's brick and mortar business; he wanted Mayer and his Chief of Production, the former Universal Pictures executive, Irving Thalberg. Nicholas Schenck was dispatched to finalize the deal that ultimately resulted in the formation of Metro-Goldwyn Pictures in April 1924 with Mayer as the studio head and Thalberg chief of production.

Mayer's company folded into Metro Goldwyn with two notable additions: Mayer Pictures' contracts with key directors such as Fred Niblo and John M. Stahl, and up-and-coming actress Norma Shearer, later married to Thalberg. Mayer would eventually be rewarded by having his name added to the company. Loews Inc. would act as MGM's financier and retain controlling interest for decades.

Loew died in 1927 of a heart attack at the age of 57 at his country home in Glen Cove, New York. Reporting his death, Variety called him "the most beloved man of all show business of all time".[11] He was interred in the Maimonides Cemetery in Brooklyn.[12] He left only one public gift in his will which was to Midtown Hospital.[13]

For his very significant contribution to the development of the motion picture industry, Marcus Loew has a star on the Hollywood Walk of Fame at 1617 Vine Street.

Personal life

[edit]

He and his wife, Carrie Loew, had twin sons, David L. Loew (1897–1973) and Arthur Marcus Loew Sr (1897–1977).[11] Arthur married Mildred Zukor, daughter of Adolph Zukor[14] and became president of MGM. Their son, Arthur Loew Jr. (1925–1995), was an actor, producer and writer.[15]

E. M. Loew, unrelated theater operator

[edit]

E. M. (Elias Moses) Loew (1897–1984), also a major theater operator, to a lesser degree, and race track owner, is often assumed to be related to Marcus Loew. They weren't even distantly related. Among other things, E. M. Loew was, with Lou Walters (father of Barbara Walters), co-owner of the Latin Quarter night clubs in Boston, New York, and Miami Beach.[16]

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Marcus Loew

View on Grokipedia
from Grokipedia
Marcus Loew (May 7, 1870 – September 5, 1927) was an American business magnate and a pioneering figure in the motion picture industry, best known for founding the Loew's Theatres chain and orchestrating the merger that created (MGM) studios. Born into poverty on New York City's to immigrant parents from and , Loew rose from humble beginnings to build a vertically integrated empire that dominated film exhibition and production in the early . His innovative approach to mass , starting with nickelodeons and expanding into and feature films, transformed how audiences experienced cinema and laid the groundwork for Hollywood's . Loew's early career was marked by entrepreneurial grit amid economic hardship. The son of a waiter, he left at age nine to support his family, taking odd jobs such as coloring maps for 35 cents a day and selling newspapers on the streets of . By his late teens, he entered the fur trade as a salesman before venturing into entertainment with penny arcades and shows. In , Loew co-founded the People's Vaudeville Company, which operated small theaters offering affordable, continuous performances—a model that evolved into the nickelodeon craze, where five-cent admissions drew working-class crowds to short films and live acts. This innovation quickly scaled; by 1910, he had established Loew's Consolidated Enterprises, controlling dozens of venues across the Northeast. Loew's expansion into large-scale theater chains and solidified his legacy. He grew Loew's Theatres into the world's largest chain by the , with over 150 theaters showcasing and movies. In a bold move toward , Loew acquired the Corporation in 1920 for $3.1 million and, in 1924, merged it with and Productions to form , which he headed until his death. Under his leadership, became synonymous with glamour and high-quality filmmaking, producing hits that defined the of Hollywood. Loew's philosophy of clean, comfortable theaters as "palaces for the people" democratized entertainment, making cinema accessible to millions. Loew died suddenly of at age 57 while vacationing in Glen Cove, , leaving behind a fortune estimated at $30 million and a company that continued to thrive under executives like . His influence endured through Loew's Theatres, which operated until the late , and , which produced iconic films for decades. As an immigrant success story, Loew exemplified the in the burgeoning , fostering innovation that shaped modern entertainment.

Early Life

Family Background and Childhood

Marcus Loew was born on May 7, 1870, in , specifically at Avenue B and Fifth Street in Manhattan's , to immigrant parents who had recently arrived from . His father, Herman Loew, was a Jewish waiter originally from , , while his mother, Ida Sichel, was a German widow who had two sons from her previous marriage, creating a blended family environment. The Loew family lived in poverty amid the dense, immigrant-heavy German-Jewish community of the , where economic hardship was commonplace for such newcomers. Due to these circumstances, Loew left school at the age of nine after receiving basic regular education and Orthodox Jewish religious instruction, though he had begun contributing to the family income earlier by selling newspapers on street corners starting at age six. He grew up with half-brothers Abraham and Joseph Sichel from his mother's prior marriage, as well as a full sister, Fanny, and a full brother, Henry, who would later join him in the family business ventures. The family's dynamics were shaped by financial necessity, with young Marcus taking on responsibilities to support the household from an early age.

Initial Employment and Entry into Show Business

Born in to Jewish immigrant parents, his father from and mother from , Marcus Loew left formal education early to support his family, embarking on a series of menial jobs that honed his work ethic and business instincts during the 1880s and 1890s. At age nine in 1879, he quit school and took a position at a map-coloring plant, earning 35 cents a day for 10-hour shifts six days a week. The following year, at age 10, he faced unemployment due to a strike or lockout but soon partnered in a printing business, earning about $12 per week. He later worked in an East Side men's clothing store for $4 per week, then at age 12 joined a fur factory, where he operated machinery for 11.5-hour days at $4.50 weekly, gaining familiarity with the garment trade. By 18, Loew had saved $63 to become a fur broker, though he faced at 19; he rebounded as a traveling salesman earning $100 per week and eventually repaid his $1,800 debt, demonstrating early resilience in the competitive New York economy. Loew's entry into show business occurred around 1903, when he partnered with fellow fur merchant to invest in penny arcades in through Zukor's Automatic Company. These arcades offered cheap, automated entertainment such as mutoscopes and kinetoscopes, appealing to urban crowds with minimal costs—often just a penny per view—and marking Loew's shift from labor-intensive trades to the nascent entertainment sector. His ventures emphasized accessible diversion for the , capitalizing on the era's technological novelties to attract immigrants and laborers seeking affordable escapes from daily toil. In 1904, Loew partnered with actor David Warfield, who invested $15,000, to form the People's Vaudeville Company, opening their first small theater above a at 172 East 23rd Street in in 1905, followed by four more in New York and one in . These modest venues combined short films with live acts, charging nickel admissions to draw blue-collar audiences, and showcased Loew's acumen for blending motion pictures with variety performances to maximize appeal and profitability. This collaboration solidified his transition to entertainment entrepreneurship, prioritizing low-overhead operations that catered to mass, budget-conscious patrons.

Professional Career

Vaudeville Ventures and Theater Expansion

In the mid-1900s, Marcus Loew shifted his focus toward organized by founding the People's Vaudeville Company on November 14, 1904, in partnership with actor David Warfield, as well as Morris Drucker and other associates including early collaborator . This venture marked Loew's transition from individual penny arcades to a structured chain, beginning with the opening of a nickelodeon-style arcade at 172 East 23rd Street in in January 1905, which featured short films and live performances to attract working-class audiences. Loew's first dedicated theater opened in January 1908 as the in , following his 1907 purchase and refurbishment of the rundown Watson's Cozy Corner house; this venue emphasized clean, family-oriented spaces with mixed bills of acts and early motion pictures, priced at a modest ten cents per ticket, generating $60,000 in profit during its debut year. Similarly, the Lincoln Square Theatre, acquired by Loew in 1909, exemplified this approach as one of his earliest properties, offering affordable 10-to-25-cent admissions for combined and variety shows in a renovated space originally built in 1906. By the early 1910s, Loew's operations expanded rapidly across New York City's five boroughs, reaching nearly two dozen theaters by 1910 and incorporating additional venues through strategic partnerships, such as a 1909 contract with the Shubert brothers to manage two of their houses. This growth continued into the mid-1910s, with the 1914 acquisition of the Sullivan & Considine circuit adding approximately 30 theaters nationwide, pushing the total toward 100 by the decade's end and establishing Loew as a dominant force in small-time . Loew's business model centered on vertical integration beginning with exhibition, prioritizing ownership of modest, high-volume theaters to control costs and real estate while featuring lesser-known acts and short films to differentiate from the high-end, big-time vaudeville dominated by competitors like the Shubert brothers. This strategy emphasized accessibility and cleanliness for everyday patrons, fostering loyalty through consistent, low-priced entertainment that blended live performance with emerging cinema without the extravagance of elite circuits.

Formation of Loew's Theatres Chain

In 1910, Marcus Loew officially incorporated his expanding operations as Loew's Consolidated Enterprises, a chain dedicated to and early exhibition, with serving as treasurer and as secretary. This formalization built upon Loew's earlier partnerships in small-time , enabling structured growth across New York City's boroughs, including the opening of the 2,800-seat National Theatre in that same year. By mid-1911, following the acquisition of the Morris vaudeville circuit—which added approximately 100 theaters nationwide—the company reorganized as Loew's Theatrical Enterprises with a of $5 million (equivalent to about $118 million in 2010 dollars), solidifying its position as a major player in affordable entertainment. The chain's nationwide scaling accelerated through strategic acquisitions and new constructions, reaching over 150 theaters by . Key expansions included the 1914 purchase of the Sullivan & Considine Theatrical for $3–4 million (about $67.5–90 million in 2010 dollars), which incorporated around 30 venues in the Midwest and West Coast, and the 1919 addition of the Ackerman & Harris chain with 18 West Coast locations. In , the company reorganized as Loew’s Incorporated, issuing 700,000 shares at $25 each and borrowing $9.5 million to support further growth. This growth emphasized luxurious "movie palaces" to attract mass audiences, exemplified by the Loew's State Theatre in New York, a 3,300-seat venue designed by architect that opened on August 29, 1921, at as the chain's flagship for and films. Loew's Theatres prioritized real estate ownership for and developed opulent interiors to elevate the viewing experience, distinguishing the chain from smaller nickelodeons. Financial strategies centered on cost efficiency and broad accessibility, including direct booking of lesser-known vaudeville acts to avoid high agency fees and maintaining midrange ticket prices of 10–25 cents to undercut competitors while appealing to working-class patrons. These tactics supported high-volume attendance and steady revenue from mixed programs of short films and live performances. However, the chain faced significant challenges during , including a 1917 vaudeville actors' strike by the White Rats union that disrupted operations for over a month and halted international expansion plans. Early antitrust scrutiny also emerged, particularly from the General Film Company's monopoly on , which was dismantled under the in 1915, temporarily easing supply constraints but highlighting regulatory risks for large exhibitors.

Acquisition and Creation of MGM

In the late 1910s, as Loew's theater chain expanded rapidly, Marcus Loew sought to secure a reliable supply of films to fill his venues and reduce dependence on external producers. In January 1920, Loew's Incorporated acquired Corporation for $3.1 million through a combination of and profit-sharing arrangements, marking his entry into film production. This purchase, involving key Metro executives like Richard Rowland and J. , allowed Loew to control content creation directly for his theaters. By the early 1920s, Metro's output proved insufficient for Loew's growing needs, prompting further expansion. In 1924, Loew orchestrated the acquisition of the financially struggling Corporation via a stock swap, integrating it with Metro to form Metro-Goldwyn Pictures. This move, advised by Loew's longtime partner , enhanced production capacity and distribution capabilities. The culmination of these efforts occurred on April 17, 1924, when Loew merged with Productions for $75,000, creating (MGM). Loew served as president of the new entity, overseeing its operations from New York while delegating studio management in Hollywood to Mayer as and head of production. Under this structure, Loew appointed Irving G. Thalberg, a young production executive from Mayer's team, as general manager of the studio, positioning him to shape MGM's creative output. Loew's strategy emphasized , combining MGM's production and distribution with his Loew's Theatres exhibition chain to dominate the industry and counter competition from independent producers. This approach ensured a steady flow of high-quality films tailored for his theaters, fostering a star-driven system that later inspired MGM's famous , "More stars than there are in the heavens."

Personal Life

Marriage and Immediate Family

Marcus Loew married Caroline "Carrie" Rosenheim on March 4, 1894, in , beginning a partnership that lasted until his death in 1927. Born in 1871 to David Rosenheim and Rosa Beckman, Carrie came from a Jewish immigrant family similar to Loew's own background, and their union reflected the close-knit community ties of . The couple's marriage provided a stable foundation amid Loew's rising career in , with Carrie supporting his ventures while managing their growing household. Loew and Carrie had twin sons, Arthur Marcus Loew Sr. (1897–1977) and David Leonard Loew (1897–1973), who later entered the family business. Arthur served as a key executive in Loew's international operations, overseeing expansion efforts, while David pursued production. No other children are recorded in historical accounts of the family. The twins' involvement offered Loew personal fulfillment, as he integrated them into his enterprises during their adulthood, fostering a legacy of familial collaboration. As Loew's success grew, the family relocated from modest apartments to more affluent settings, including the opulent Pembroke estate in Glen Cove, [Long Island](/page/Long Island), purchased in 1920. This 82-room mansion on 46 acres overlooking symbolized their elevated lifestyle, complete with lavish gardens and proximity to the city's cultural scene, allowing the family to host gatherings that blended business and personal life. Their Jewish heritage subtly shaped , emphasizing resilience and , which echoed Loew's upbringing.

Philanthropic Activities and Interests

Marcus Loew demonstrated a commitment to philanthropy through his support for Jewish causes in the early , reflecting his immigrant roots and community ties. In 1916, he collaborated with other New York theater owners, including William Fox, to donate venues for a Festival benefiting Jewish organizations. The following year, amid , Loew actively collected funds for the Jewish War Relief Committee to aid war-affected Jewish communities in . By 1919, he made a notable contribution of $4,000—equivalent to approximately $77,000 in 2025 dollars—to the Jewish United Building Fund, which supported the construction of facilities for Jewish communal services. Loew's charitable efforts extended to the entertainment industry, where he was described as always charitably inclined toward performers facing hardship. An anecdote from his career illustrates this: upon learning from his friend, the actor David Warfield, of a performer out of work, Loew provided opportunities within his theaters to support the individual's livelihood. While Loew's theaters were involved in labor disputes, such as the 1917 White Rats actors' that briefly halted operations, his overall approach emphasized fair employment and accessibility in , fostering welfare indirectly through expanded job creation in vaudeville and film. Beyond philanthropy, Loew pursued personal interests that highlighted his affluence and sociable personality. He was an avid yachtsman, owning the vessel The Caroline, which he frequently used for leisure and travel along the ; during his final illness in 1927, it transported him from Albany to his estate. Loew also collected art, with his estate inventory including a prominent painting, "The Sculpture Gallery" by , appraised at $2,000. Known for his jovial, anti-solemn demeanor, he often hosted informal gatherings with industry peers, embodying a that viewed as a democratizing social good available to all. He once remarked, "The gorgeous theater is a luxury... But the people want , not luxury, and the minute you forget that you are sunk," underscoring his belief in affordable amusement as a public benefit.

Death and Legacy

Circumstances of Death

Marcus Loew died suddenly on September 5, 1927, at the age of 57, from a heart attack while sleeping at his estate, Pembroke, in . The incident occurred early that morning, shortly after 6:00 a.m., when a nurse attending him noticed a flutter in his breathing; he passed away within a minute, with his wife, Carrie, and sons, Arthur M. and , rushing to his bedside. Loew had been in poor health for years, exacerbated by chronic overwork and the intense business pressures of managing his vast theater empire and studios. In the preceding month, he had stayed at the , home of his associate M. Schenck for rest, under constant nursing care due to a weakened condition and heart strain, though his death remained unexpected. Funeral services were held on September 8, 1927, at 11:00 a.m. at his Glen Cove estate, officiated by Rev. Dr. Aaron Eisman, followed by burial at Maimonides Cemetery in Cypress Hills, , beside his parents. The event drew prominent industry figures, with pallbearers including Nicholas M. Schenck, , and David Warfield, and honorary pallbearers such as , , and ; nationwide, Loew's theaters and other cinemas closed until 2:00 p.m. in tribute, while studios paused operations briefly. In the immediate aftermath, Nicholas M. Schenck, Loew's first vice president, assumed control of the company, with no anticipated changes in policy; Loew's sons, both vice presidents, were to collaborate closely with Schenck to ensure continuity.

Industry Impact and Recognition

Marcus Loew played a pivotal role in ushering in the "movie palace" era by constructing lavish, large-scale theaters that transformed film exhibition into a grand, accessible spectacle for the masses. His Loew’s State Theater, opened in 1921 on Broadway with 3,200 seats and costing $1 million, exemplified this opulent design blending film and vaudeville, setting a standard for subsequent theater builds across the U.S. and abroad. This approach not only elevated the cultural status of cinema but also democratized entertainment, drawing working-class audiences into palatial venues that emphasized comfort and spectacle over mere screening. Loew's adoption of —controlling production, distribution, and exhibition—profoundly shaped Hollywood's , enabling efficient content flow and industry consolidation. By acquiring in 1920 for $3.1 million and merging it with in 1924 to form (), Loew created a "super studio" that exemplified this model, introducing practices like to guarantee revenue streams, though later challenged under antitrust laws in 1948. His strategy influenced major players, fostering a structured that dominated American cinema until post-World War II divestitures. Loew's Theatres chain, founded in 1904, endured through these shifts, surviving the 1948 Paramount Decree's breakup of integrated studios and evolving via mergers; it merged with in 2006, with the Loew's branding retained until 2017 when AMC streamlined operations. Posthumously, Loew received the Hollywood Walk of Fame star in the Motion Picture category on February 8, 1960, at 1617 Vine Street, recognizing his foundational contributions to the industry. His legacy appears prominently in film histories, such as accounts of early Hollywood's growth and the nickelodeon-to-palace transition. Scholars view Loew's approach as pragmatically avoiding direct monopoly confrontations, such as with the General Film Company or vaudeville trusts, while expanding through real estate-focused operations that prioritized stable assets over risky content production. Douglas Gomery describes Loew's mindset as treating theaters as enduring real estate investments where "the show could fail but the land was still his," underscoring his promotion of mass entertainment as a reliable, inclusive business model. Bosley Crowther notes Loew's protective acquisitions, like Metro, as strategic safeguards for his exhibition interests, reflecting a balanced stance against over-monopolization amid industry criticisms in the 1920s. This perspective highlights Loew's role in making cinema a populist force, evolving from penny arcades to hybrid venues that broadened access to entertainment.

Unrelated E.M. Loew Theater Operator

Elias Moses Loew, commonly known as E.M. Loew (1897–1984), was a Boston-based theater owner and operator who founded and led E.M. Loew's Theatres Inc., a regional chain primarily serving audiences. Born in Czernowitz, (now , ), Loew immigrated to the at age 13 with his family, where his father worked as a public school . He began his in humble roles, including as an iron bed assembler in and later as a , usher, busboy, and in , before entering the entertainment industry in 1917. There was no familial or business connection between E.M. Loew and Marcus Loew, the New York-based pioneer of the national Loew's Theatres chain; the two men were not related and even faced legal disputes over naming similarities in the , resulting in a ruling that permitted E.M. Loew to use his initials to distinguish his operations. E.M. Loew's Theatres was established in when Loew co-founded the Crystal Theatre in , though it quickly failed. Undeterred, he acquired the Dreamland Theatre in , which proved successful and served as the foundation for his expanding chain. By the mid-20th century, the company had grown to become the largest theater operator in , with approximately 70 indoor venues and 17 drive-in theaters at its peak, focusing on independent operations and family-oriented screenings rather than large-scale or production ties. Notable examples include the E.M. Loew's Open-Air Theatre in Lynn, one of the world's largest drive-ins accommodating up to 500 cars, and various neighborhood houses like the Puritan Theatre in Boston's South End. The chain emphasized affordable entertainment in suburban and urban areas, pioneering early drive-in concepts in the region starting in the late . Unlike Marcus Loew's expansive empire, which integrated theater exhibition with film production through the creation of (), E.M. Loew's operations remained strictly exhibition-focused, avoiding any involvement in movie studios or national distribution. The chain operated on a smaller, regional scale, concentrating on markets without the corporate mergers or Hollywood affiliations that defined Marcus Loew's ventures. E.M. Loew's Theatres maintained its independent corporate structure for decades, though individual venues were occasionally sold or repurposed amid industry shifts toward multiplexes in the late ; by the time of E.M. Loew's death in 1984, the chain had shrunk to about a half-dozen locations. The similarity in surnames and overlapping eras in the early motion picture industry has led to frequent misconceptions, with some historical accounts erroneously linking E.M. Loew's regional drive-ins and independents to Marcus Loew's national chain or even suggesting collaborative ventures that never occurred. This confusion persists in popular narratives about early American cinema, underscoring the need for clear disambiguation in theater histories.

References

  1. https://www.immigrantentrepreneurship.org/entries/marcus-loew/
  2. https://www.imdb.com/name/nm0517343/bio/
  3. https://www.encyclopedia.com/people/literature-and-arts/film-and-television-biographies/marcus-loew
  4. https://www.findagrave.com/memorial/8126/marcus-loew
  5. https://www.nytimes.com/1943/06/15/archives/h-loew-mana6ed-theatre-33-s1-only-brother-of-marcus-loew-i-headed.html
  6. https://www.nycago.org/Organs/NYC/html/LoewsLincolnSqTheatre.html
  7. https://travsd.wordpress.com/2010/05/07/marcus-loew/
  8. https://s-media.nyc.gov/agencies/lpc/lp/2368.pdf
  9. https://cinematreasures.org/theaters/557
  10. https://www.wikitree.com/wiki/Rosenheim-35
  11. https://www.findagrave.com/memorial/136782339/caroline-minzesheimer
  12. https://www.nytimes.com/1977/09/09/archives/arthur-m-loew-79-former-head-of-movie-empire.html
  13. https://www.goldcoastmansions.com/PembrokeMansion/PembrokeMansion.htm
  14. https://www.nytimes.com/1996/04/14/realestate/in-the-region-long-island-for-sale-glen-cove-estate-with-all-approvals.html
  15. https://www.dollartimes.com/inflation/inflation.php?amount=4000&year=1919
  16. https://www.nytimes.com/1927/09/06/archives/marcus-loew-dies-suddenly-in-sleep-head-of-theatre-chain-long-iii.html
  17. https://www.nytimes.com/1929/11/23/archives/marcus-loew-left-estate-of-826647-its-value-was-estimated-at-a-much.html
  18. https://www.davidandnoelle.net/moviehistory.htm
  19. https://www.nytimes.com/1927/09/07/archives/movies-will-close-in-tribute-to-loew-nations-theatres-will-suspend.html
  20. https://www.groceteria.ca/board/viewtopic.php?t=172
  21. https://www.facebook.com/groups/1280383982690351/posts/1543775749684505/
  22. https://walkoffame.com/marcus-loew/
  23. https://www.ebsco.com/research-starters/biography/marcus-loew
  24. https://journals.shareok.org/theatreorgan/article/download/4336/4315/
  25. https://www.upi.com/Archives/1984/11/16/EM-Loew-best-known-for-the-chain-of-movie/7666469429200/
  26. http://www.losttheatres.org/album.php?frame=main&album=daystreet&file=08_EMLoew.jpg
  27. https://travsd.wordpress.com/2022/12/31/r-i-p-barbara-walters-and-her-connection-to-vaudeville/
Add your contribution
Related Hubs
User Avatar
No comments yet.