Odeon Luxe London Leicester Square

Video

Under construction (incl. balcony structure) and early interior photos; videos of the ‘Dutchess’ being played, opening day ‘plaque’ reveal, lowering of the safety curtain, and building work; interviews.

Perhaps someone could identify the individuals featured?

1045 show of H8teful Eight this morning with my fellow film geeks…great fun good crowd participation…the fun of seeing a couple of black countdown numbers after the overture…a programme And even walking concessionaires with hot dogs at the intermission A treat!

The film – just good Tarantino grand guignol…Jackie Brown remains his masterwork in terms of real characters with an assist to Elmore Leonard…but it works…the overture by Morriconne is lovely as is the opening them…love the retro credits at the beginning…great photography, colour, songs by Crystal Gayle and Roy Orbison opening and closing the second part

Lovely for a London audience to join in a round of applause and actually stay for the credits! The 245 show appeared to be close to a sell out

“The Hateful Eight” at Odeon Leicester Square in 70mm. will be preceded by an overture (play-in music) and there will be an intermission like most stage productions have. For those who remember the real cinema roadshows, and the sense of excitement and occasion their presentation created, this is going to feel very special. Just don’t expect “The Sound of Music”!

“Toy Story 2” was the first “film” to be shown digitally to the public in the U.K. at Odeon Leicester Square in 1999. For several years thereafter, during the transition, the Odeon’s Cinemeccanica Victoria 8 35/70 projectors and the new digital projector stood shoulder to shoulder in the theatre’s projection room and presentations in both technologies were screened as, gradually, more and more titles were released in the new format. “Quantum of Solace” at OLH was digital and, some years ago, Odeon Cinemas donated one of the Odeon’s two film projectors to the Projected Picture Trust. OLH retains the ability to show 35mm and 70mm product as well as digital. “Interstellar” was screened there in 70mm.

CF100 – I think the golden ladies were indeed probably considered the “jewel in the crown” of 1998’s revamp. I was told that, in the event, the £3.5 million budget turned out to be insufficient to include their creation and installation so some of Odeon Holloway’s “rebranding” budget was taken to ensure their presence. If the replicated figures have an Achilles' heel, it is the mountings against which they fly. The grain of the woodwork in the 1937 treatment looked superb and flowed beautifully whereas the recreated background, which contains the fibre-optic terminals nearest the proscenium, appears to be several sections of wood-effect formica or similar which is nowhere near as pleasing to the eye. The profile spots which pick out the new figures are, at present, unfiltered, open white and if they were to be filtered with a pastel gel (like, e.g. pale salmon)the inevitable dust would be much less obvious and the background panels would perhaps look warmer and nicer. Overall, the reinstated figures do work for me as a nod to the theatre’s more spectacular past. The present golden ladies are actually the third set to appear in the Odeon. During the late ‘80s/early '90s, the theatre played host to annual “tribute” events, each honouring a particular film star (Julie Andrews and Sean Connery were two so honoured). These shows, organised by BAFTA, were held in the presence of a member of the royal family who would be seated in the second row of the stalls (the first having been removed). At the evening’s conclusion, the star would descend a special, shallow staircase from apron to stalls floor, to be presented with a BAFTA award for their contribution to the industry. A spectacular show with dancers and on-stage orchestra (using the stage and pit floor in apron mode) would be followed by the celebrity concerned giving a talk about their career from a lectern to audience right. Excerpts from some of their films were screened on a square, suspended, central screen (the cinema screen and both sets of curtains having been flown out of sight for the event). Standing at either side of the stage, at a slight inward angle so, half inside and half outside the proscenium, were large set pieces which were replications of both the original “sunburst”, illuminated, curved glass splay wall sections and the golden ladies themselves. Although I only saw the shows on TV, the large features, including the ladies, looked the equal in scale to their inspirations. I, for one, would love to know where they ended up and presume they would belong to BAFTA.

The 1968 ceiling treatment of both foyer and circle lounge survived for thirty years. Both ceilings were unusual and I will attempt to describe them.

The foyer received a flat, suspended ceiling, itself having a shallow, metallic suspended rectangular feature which covered the new ceiling except for a narrow strip around all four sides. The feature was composed of randomly arranged, angular facets of shiny metal. Above the vestibule and the length of the entrance was a lighting box (almost a miniature version of the one on the balcony front) in which were housed numerous Strand Electric pattern 23 profile spots. The lanterns were filtered in various colours of Cinemoid gel and were controlled by an automatic system which would bring up and fade out different sets of lanterns at different times. The lanterns were suspended from an internal bar and tilted slightly upwards, focussed on the ceiling feature. The installation was pretty well concealed, the lenses “peeping” through a series of elongated apertures above the inner entrance doors. The effect of all this was that all the reflective facets in the ceiling would glow and fade in sequence, different ones picking up different colours and, in turn, sending out little shards of coloured light onto the plain, wood-pannelled walls (which at some stage were covered in red suede) of the foyer. From the 1987 revamp, some of the lanterns were tilted down slightly and made to constantly highlight the coat of arms feature above the, then, centrally sited sales kiosk.

The circle lounge also received a suspended, flat ceiling with an overall grey “flaked” plaster treatment. Set into the otherwise plain ceiling were three, large, square openings – one above the staircase, the other two being evenly spaced above the lounge itself. These openings were filled with suspended, narrow, metal strips in square formations which diminished but became longer (and therefore lower) towards the centre. Each of these features had lights above them illuminating both the strips and the carpet below them. The lights were coloured red, amber and open white and the hues would slowly glow and fade in sequence. Other lighting around the lounge was by a number of discreet, white downlighters set into the ceiling. From, I suspect, around 1987 the colour-changing was no longer used and these features remained lit a somewhat steely, open white.

CF100 – Unfortunately, I cannot trace the picture/s I have seen, online at some point, of the “rolling wave” treatment of the Odeon’s splay walls. Of the four schemes between the original decor and the present, recreated, “golden ladies”, the “rolling waves” was the treatment I preferred. I narrowly missed seeing the Odeon’s 1937 interior (as I did the Empire Theatre) and suspect I would have found the original scheme slightly over-fussy. The plain ceiling and walls forward of the first complete cove just ahead of the balcony front always looked attractive to my eyes and seemed to emphasize the “high, wide and handsome” nature of the auditorium. There has been much unfounded criticism, over the years, in which it was claimed e.g. “The golden ladies have been lost beneath plain plasterwork” and “The wall and ceiling coves have been covered over”. All of which was incorrect and undermined the observers' genuine regret that a much plainer scheme had replaced the much-loved original. It is perhaps the case that when I first saw the Odeon, at the opening of “Oliver!”, when the new scheme was still very new, its appearance then became the “definitive” one for me.

The ten coves above the circle lounge (created in 1998) were supposed to flood the room with ever-changing rainbow colours. In practice, the colour wheels over the fibre-optic light sources soon began to stick and the situation was worsened when access to the light sources for the two coves nearest the glazed frontage was permanently blocked off, hence those coves are now dark as the lamps have long since failed. As with the auditorium coves, the fibre-optic terminals (now all on open white) look best and glitter most from the opposite side of Leicester Square!

I have not heard any more about the postponed refurbishment other than it was likely to be put back about twelve months i.e. into the following financial year. I hope to be seeing some of my “Odeon” friends later in the year and will report back if I glean anything more concrete.

CF100 – The “rolling wave” treatment was completely different to the neon installation. It covered a much larger area of the splay walls, beginning with a series of parallel, horizontal lines immediately forward of the balcony front. The maroon, grey and red “lines” grew in size towards the stage resembling “surfing” waves building and, finally, “toppling” into cloud-like shapes, the lowest and smallest of which reached the outer face of the proscenium arch’s corner. The waves were some three inches proud of the wall itself. Unlike the vertical, rising/fading neon features, the “rolling wave” scheme was static and incorporated no lighting, instead being spotlit from the three dedicated profile spots at both ends of the pageant box. The taller, much narrower, orange neon scheme was designed to echo the patterns appliqued onto the house curtains of the same period. At the same time, a single, pink light bulb was installed in the lowest socket of each cove on the side walls and the resultant warm glows, whilst not providing the stunning effect of the original scheme, produced a very pleasing and surprisingly art deco result and far more noticeable than the sophisticated fibre-optic 1998 scheme where the effect is barely visible except from the front rows of the stalls – looking back! There is at least one photo somewhere online of the rolling waves though I’ve never seen a picture of the short-lived “Funny Lady” designs which preceded them.

CF100 – Better late than never! Following the 1968 “zing” treatment, by Trevor and Mavis Stone, the splay walls were completely blank. Three profile spots, housed at either end of the pageant box on the balcony front, projected three spheres of light onto the opposite wall, they were filtered red, bright blue and medium amber, the three images overlapping in the centre. During the early ‘70s, an art deco, predominantly vertical, design was painted on the splay walls in maroon, red and pink. It looked like something between a high blancmange and a fountain and, if my memory serves me correctly, first appeared at the Royal Film Performance of “Funny Lady”. These flat designs were shortly replaced with abstract, rolling wave designs in maroon and grey. They were slightly raised from the walls and lit pink by the profile spots mentioned earlier. Given the two-toned red and pink panelled velvet house tabs from 1968, the wave-like shapes actually fitted in well and, like the flying ladies before them, directed the eye towards the screen. These were taken down in 1998 and replaced by the replica flying ladies.

Noodle 2510 – With regard to the Aberdeen granite black tiles on the facade and tower, these were both cleaned and polished during the 1998 reconstruction of the frontage although, for some reason, those at right angles to the theatre’s frontage were untouched. Black was chosen originally to emphasize the red neon outlining during hours of darkness. Now the theatre’s profile is once again outlined – in indigo blue – the effect of the upper building virtually disappearing within its neon halo impresses once more. Unfortunately, black granite does not weather well aesthetically, showing every spot of bird poo and city grime. I don’t think the overall covering of vinyl for the runs of “Mamma Mia!” (white) and “The Boat That Rocked” (red) helped with the appearance of the granite once the adhesive fabric was stripped off – perhaps leaving the surface more prone to staining.

They must increase the screen size as the current size is inadequate vs the auditorium size…and keep the prices down as they are becoming vastly overpriced ..and do something with the external black facade as it looks an absolute state….

CF100, Photographs of the 1987 house curtains with the three appliqued stripes terminating in vertical wavy lines towards the centre (and the orange neon stripes on the splay walls which replicated the pattern) are scarce as hens' teeth I’m afraid. I do have a faded copy of a photo' of those tabs taken during an organ concert and they can be seen opening and closing (as well as the neon installations rippling in and out) at the end of a DVD I have of numerous cinemas filmed by the late Tony Moss. I have a home cinema and when those tabs were in use, between 1987 and 1998, J. C. Joel, who produced them for Rank, also made a pair for me to the same specifications but for a 12' track. If you’d like to see mine, I’m on Flickr as “Fanatical about Odeon” and there is a shot of them in my photostream. I always liked the look of those tabs (hence having them in my Odeon) but thought the neon gimmicky. The design was typically art deco with a hint of arts and crafts which, to my mind, would have gone well with the restored flying ladies. Coincidentally, I’ve just spent most of today at the Odeon and I learned that the planned refurbishment has been postponed until early 2016. Things are quite fluid with the parent company (to float or sell?) at present and this may have had a bearing on the decision. With the Odeon West End finally gone and Marble Arch doomed, Odeon’s presence in the West End is now really a clutch of small complexes and the flagship. With “Spectre” and “Star Wars the Force Awakens” on the horizon, there is, at present, much for my favourite cinema to look forward to. They’re still putting on a good show and using screen masking and screen tabs (for 2D product)and when I watched “Marigold Hotel II” earlier, the ‘Scope image was stunning and the sound excellent.

Yes, the main foyer did become rather bare and chilly. The 1998 revamp/rebranding included illuminated friezes around the new entrance to the stalls and the sales counter, projected signs for stalls and circle and Optikinetics projected version of Odeon clock. Also installed, and still there, above the entrance doors was a Miniscan effects projector which originally panned the new style name across the floor and walls. The coloured, cold cathode lighting for the friezes and various projected images along with the fibre-optic illuminated circle stairs were principally the reasons for the plain, light treatment of the walls and floor – it was meant to gleam and glitter with so many different reflected lights. Unfortunately, all too soon several elements of the lighting scheme failed and repair/replacement proved difficult or impossible to carry out so only the stair lighting and STALLS sign remain today making the rest of the foyer somewhat drab. The ten parallel lighting coves above the circle lounge all originally changed colour through numerous beautiful hues. The light sources for the fibre-optic light cabling all had colour wheels attached to provide what was an eye-catching effect. Once again, with constant use, the colour wheels began to stick which spoilt the effect and the light sources (in some very difficult to access places)were switched to white. Sadly the sources for the three coves nearest the front of the theatre’s glazed frontage are now impossible to reach safely hence those coves remain dark.

The only attempts to recall the Odeon’s original splendour in the auditorium were the replicated golden ladies on the splay walls, fibre-optic lighting tails in the coving above the circle and around those ladies and the leopard skin design of the new seating. The seating was completely replaced some years back with more leopard skin upholstery except for the royal circle where the new seats were blue. It’s worth remembering the entire circle was expensively re-stepped to increase legroom early this century and much valuable capacity was lost in the process.

I hope the forthcoming refurbishment will retain the things which make the Odeon so special while restoring some of the warmth the public areas used to have.

The above-linked BBC article states that “the tower of the OLS… still stands today… despite not being listed.”

This is, of course, true, but since Leicester Square is a conservation area, the frontage is afforded some protection. I suspect an OWE-like scheme for the OLS would go down like the Titanic.

The Odeon, Leicester Square is due to close in March for an expensive refurbishment during which Dolby Atmos sound system will be installed. There are no plans to sub-divide the auditorium which remains the West End’s sole remaining large cinema still offering its original configuration of stalls and circle. The Odeon’s seating capacity, reputation, position and celebrity are invaluably important to all major distributors. I’m already relishing the prospect of travelling two hundred miles to enjoy “Spectre” from an armchair in the theatre’s royal circle. The Leicester Square Theatre/Odeon West End will close in January to be demolished.