LOUISIANA, Mo. — Part one of a story series. It survived a bombing and almost was brought back from the societal scrap heap.

The Clark Theatre was Louisiana’s last link to an era when people didn’t have to leave town to catch the latest Hollywood movies and nobody had envisioned “streaming” a film.

The 35th anniversary of the blaze that gutted the historic structure on the southeast corner of Fourth and Georgia is July 22 – a good time to remember a place that had an explosive opening and a fiery ending.

“It’s really sad that it’s gone,” Ann Laird told the Louisiana Press-Journal in 1987. “We had great hopes for it.”

Double vision

The Clark wasn’t the only show in town, or even within a block.

The Lou-Mo Theatre opened on the southeast corner of Fifth and Georgia on May 7, 1931 – 15 days before the Clark.

It replaced the Star Theater, which had occupied the site before a destructive fire on Thanksgiving Day the previous year.

As with its younger competitor, the Lou-Mo was elaborate. The Press-Journal called it “a handsome palace of entertainment” that put the community “in the front rank of cities in the state possessing the finest, if not the finest, movie theaters in Missouri outside of St. Louis.”

Owner C.E. Maberry was from Chicago, and had worked in the movie business for years. He had “knowledge of just what a theater must contain to insure the comfort, convenience and entertainment of its patrons,” the newspaper said.

The main entrance was finished with black and silver marble. Ten lanterns illuminated the exterior and a neon sign spelling out the theater’s name hung over a large canopy. Two doors on either side of the box office led to a carpeted lobby with a staircase to the balcony.

“Entrance to the huge auditorium is through four arches leading from the lobby into four aisles the entire length of the house,” the Press-Journal noted. “The auditorium is a veritable riot of color, the decorative scheme ranging from the delicate pink hues of spring to the rich, dark reds and greens of autumn.”

Seating capacity was a remarkable 724 — 516 on the main level and 208 upstairs. The chairs had velour upholstery and the walls were decorated with satin damask. It also had the latest sound and projection equipment.

“Everything the mind could conceive that would tend to the comfort and convenience of patrons has been installed in the Lou-Mo,” the paper marveled. “It is Mr. Maberry’s hope that Louisiana will consider the Lou-Mo as its very own theater and make it a second home where everyone is welcome.”

The stage measured 23-and-a-half feet high by 28 feet wide, and was adorned with silk and velour drapes and sky border canopy. Of the 46 tradesmen and companies that worked on the project, only one was from outside Louisiana.

For opening night, Maberry selected what was sure to be a hit — the sensual “Strangers May Kiss,” starring the seductive Norma Shearer and the handsome Robert Montgomery, the father of future “Bewitched” television actress Elizabeth Montgomery.

The Press-Journal said the film “comes direct to Louisiana from the larger cities and it is the plan of the Lou-Mo to exhibit the newest and most effective pictures obtainable at the earliest possible moment. This is one of them. Others will follow in rapid succession.”

Despite rain, the drum and bugle corps of the American Legion post staged a street parade and performed a concert in front of the Lou-Mo before helping Madeline O’Brien take tickets. Crowds packed the 7:15 and 9:15 showings, which included the Laurel and Hardy comedy “Laughing Gravy” and a newsreel entitled “China’s Old Man River.”

Part of ticket proceeds benefitted the Legion. The audience included executives or representatives from several Hollywood studios. In a move that would never be allowed by theater companies today, Maberry kept a promise not to run product pitches before the main attraction.

“He says that people go to the show to see the pictures and not to read advertisements,” the Press-Journal noted.

The newspaper again offered praise, saying the Lou-Mo rivaled cinemas in St. Louis, Hannibal and Quincy.

“The erection of the new theater here marks the beginning of a new epoch in the motion picture form of entertainment and amusement in Louisiana and Pike County,” it said. “It surpasses in beauty, equipment and effectiveness of the elements that go to make a picture theater a success anything that has ever been undertaken in Louisiana. There can be no comparison of it with past undertakings of its kind here.”

One local man would disagree.

Welcome home

Clark Armentrout was a businessman, but he loved motion pictures.

Born in Louisiana on Sept. 10, 1876, his father, William, served with the Union Army during the Civil War.

Armentrout worked at banks in Illinois and owned the 300-seat KP Opera House, a classy 1894 building on Madison Street just south of the courthouse square in Pittsfield. It began showing movies around 1917. Armentrout’s son, Russell, a World War I veteran, became the manager in 1922.

Two years later, the duo bought a theater in Barry, Ill. After the Star burned, they began talks to convert the 1891 Parks Music House building in Louisiana to a theater. They hired Harry Branch of Decatur, Ill., for the renovation.

“Both men are men of honor and good standing in their community, and are conscientious in their business dealings, work for the best interests of their home towns and are putting their money into (the building) in order that the people of Louisiana and vicinity may have the best in motion picture entertainment provided in an atmosphere of quiet elegance with an admission price that is within the reach of everyone,” the Press-Journal said of the Armentrouts.

The roof was reinforced and concrete piers were put in place to support the projection room. Plate glass was added to the lobby entrance, heavy auditorium doors were put in place and the ticket office featured an ornamental design.

A heating and cooling system was placed in the basement, new restrooms were built and hard maple floors were installed. There were more than 37 electrical circuits, and wiring was placed in a conduit to avoid the potential for fire. Seating capacity was 541. The Press-Journal was so impressed that it often repeated words in descriptions.

“Beautiful green and gold parcels of heavy plastic are placed at just the right place which together with mulberry colored draw curtains…and velvet felt panels produce a beautiful and harmonious interior,” it said. “Richly upholstered chairs with full spring seats…are provided for both balcony and the entire lower floor, carrying out the same color scheme, having the backs upholstered in mulberry figured cut velour with gold seats.”

Opening night was May 22. The featured attraction was “Cracked Nuts” starring the popular comedy team Bert Wheeler and Robert Woolsey in a cast that included scary guy Boris Karloff.

In an ironic story line that would soon become all too real, a bomb is one of the devices suggested for unseating a king. A short film on putting by golfer Bobby Jones and the cartoon “Yodeling Yokels” also were screened.

Shows were at 7:30 and 9, with ticket prices at 10 cents and 25 cents — about $1.75 to $4 in 2022. In another move unheard of today, the Armentrouts banned popcorn, peanuts, ice cream cones and soda pop anywhere in the theater.

People could reserve up to nine seats every day except weekends, and a sun parlor was featured on the west end of the lobby if patrons wanted a respite.

“Hundreds of people have visited the building in the course of its transformation into a modern theater and have waxed enthusiastic over the beauty and good taste in the decorating of the interior of this new play house and in the measures taken for the safety and convenience of the patrons,” the Press-Journal said.

Nearby cinemas that had attracted Louisiana patrons before the Lou-Mo and the Clark stepped up their games. That month saw the Clarksville Community Theatre show “The Lady Refuses” starring the blond, blue-eyed Betty Compson, who had her own movie production company.

Not to be outdone, the Huckstep Theatre in Bowling Green screened “Gun Smoke” with Richard Arlen, who got his first acting job after crashing a motorcycle into the front gates at Paramount Pictures.

Both of the Clark’s first night shows sold out, with customers coming from around the region.

“There was much crowding and jostling, but the crowd was entirely good-natured,” the Press Journal assured.

Little did anyone know trouble was just around the corner. Or, more accurately, on the front sidewalk.

Story will continue with: Kaboom!