The description of “single floor” and “rear stalls” is not accurate. The auditorium was laid out with a stepped stadium section at the rear housing wider seats with more leg room (3ft 3in) compared to the front stalls section (2ft 9in) and separated from it by a barrier. This stepped section became the location of the new cinemas after tripling, which meant that they inherited the greater legroom compared to the front stalls which became screen 1.
I have to say that I have never regarded the exterior of this cinema as “beautiful”. A vast overpowering presence on the street, not, of course, that the cladding was in any way an improvement!
This is, of course, not the real ABC Harrow (the former Dominion), that is listed as the Safari cinema. I wish that Cinema Treasures would list the name under which the cinema was best known, rather than the last name it operated under.
Prior to the deal for the Jarmans Field cinema, Odeon Cinemas MD Jim Whittel was planning to take the Odeon back from the bingo crowd and triple it along the lines of the very similar Odeon Harlow.
While in general terms it may be said that the new cinemas of 1985 occupy the circle area, in fact the entire building was gutted and totally rebuilt within the original shell. The current cinemas are side by side and at ninety degrees to the original layout with the screens on the right hand side wall of the original auditorium.
The Astoria most certainly did not show “Around the World in 80 Days” in 70mm! 70 mil did not appear in the UK until “South Pacific” opened at the Dominion in 1958. 80 Days was shown at the Astoria in 34 (yes FOUR)mm. This was a process called Cinestage involving an anamorphic print with a 1.56:1 squeeze giving a screen ratio of 2.2:1 (like Todd AO). The reason for the 34mm print was British quota. All cinemas had to show 30% British films in any one year, which would have precluded a long roadshow run. However, the rules only applied to 35mm film so 1mm was shaved off the print! Apparently at least twice during the run Board of Trade inspectors visited to make sure they really were using a 34mm print. Later, of course, 70mm presentations were also exempt from quota which is how cinemas like the Astoria, Dominion, Metropole and others could present long runs of “foreign” films. Unfortunately, some British films (notably “Zulu” were denied a 70mm run in the West end so that the film could contribute to quota obligations.
The photos in Ken’s links appear to show a completely different auditorium to the photo heading the article.
The description of “single floor” and “rear stalls” is not accurate. The auditorium was laid out with a stepped stadium section at the rear housing wider seats with more leg room (3ft 3in) compared to the front stalls section (2ft 9in) and separated from it by a barrier. This stepped section became the location of the new cinemas after tripling, which meant that they inherited the greater legroom compared to the front stalls which became screen 1.
I have to say that I have never regarded the exterior of this cinema as “beautiful”. A vast overpowering presence on the street, not, of course, that the cladding was in any way an improvement!
This is, of course, not the real ABC Harrow (the former Dominion), that is listed as the Safari cinema. I wish that Cinema Treasures would list the name under which the cinema was best known, rather than the last name it operated under.
It is the ABC. Both now gone.
Prior to the deal for the Jarmans Field cinema, Odeon Cinemas MD Jim Whittel was planning to take the Odeon back from the bingo crowd and triple it along the lines of the very similar Odeon Harlow.
While in general terms it may be said that the new cinemas of 1985 occupy the circle area, in fact the entire building was gutted and totally rebuilt within the original shell. The current cinemas are side by side and at ninety degrees to the original layout with the screens on the right hand side wall of the original auditorium.
The Astoria most certainly did not show “Around the World in 80 Days” in 70mm! 70 mil did not appear in the UK until “South Pacific” opened at the Dominion in 1958. 80 Days was shown at the Astoria in 34 (yes FOUR)mm. This was a process called Cinestage involving an anamorphic print with a 1.56:1 squeeze giving a screen ratio of 2.2:1 (like Todd AO). The reason for the 34mm print was British quota. All cinemas had to show 30% British films in any one year, which would have precluded a long roadshow run. However, the rules only applied to 35mm film so 1mm was shaved off the print! Apparently at least twice during the run Board of Trade inspectors visited to make sure they really were using a 34mm print. Later, of course, 70mm presentations were also exempt from quota which is how cinemas like the Astoria, Dominion, Metropole and others could present long runs of “foreign” films. Unfortunately, some British films (notably “Zulu” were denied a 70mm run in the West end so that the film could contribute to quota obligations.