Greg Lynch says… I first became aware of Lionel Hart in 1953 when he converted the first floor of a building in Barrack Street, Perth into a 450 seat theatre. He named it “The Liberty” (no doubt inspired by a similar named theatre he had been involved with years before). The Liberty opened Ist March 1954, interestingly with the Ist release? of the 1946 Italian production “Rigoletto”. For those who care Sergio Leone was the assistant director (un-credited) From memory there was a special program screened every Sunday night featuring what was then known as “continental' films”. During the early 50’s Perth cinemas were not allowed to commence screening on Sunday’s until 9.00pm. By 1954 this writer was working in the cinema industry and itching to check out the new venue. Then along came “The 5,000 Fingers of Dr. T” in Wonderama ? (Columbia Pictures 1953). It appeared that Columbia Pictures were moving their first city release away from The Capitol Theatre to The Liberty. “The 5,000 Fingers” became my introduction to The Liberty. There is no doubt that The Liberty Theatre at the time was the most modern cinema in Perth. The layered indirect ceiling lighting was very pleasing and the sight lines excellent. The seating was exceptional and I loved the atmosphere of the place. Today “The 5,000 Fingers of Dr. T” is regarded as a masterpiece and for those wondering about Wonderama . (your guess, it certainly wasn’t a wide screen process) On Saturday 8 October 1955 the Mirror Newspaper ran the following double column advert for The Liberty Theatre ( Quote) “Ist Australian screening. James Stewart in a magnificent outdoor CinemaScope production “The Man From Laramie” (G) plus “The Glass Wall” (A) with Gloria Grahame”. (End Quote). Columbia Pictures “The Man from Laramie” was one of the first Westerns to be filmed in CinemaScope and I believe this was the first scope production to screen at The Liberty. I had cause to drop in while they were lacing up the new wide screen, and then sat through a test screening of “The Man from Laramie” trailer. For those who survive this industry the inaugural installation of CinemaScope in any theatre was an exciting occasion. Many years later in the early 60’s I went to work for Universal Pictures in Melbourne and discovered that Lionel Hart had worked as a salesman for Universal some thirteen years earlier under the guidance of industry patriarch, Dan Casey. By then the name Lionel Hart and his achievements were approaching legendary status….Greg Lynch –
Greg Lynch says: Acknowledging David Coppock’s excellent question, and I quote… “Is the Olympic torch a reference to the 1956 Melbourne Summer Olympic games”? end quote …………………….. Note : David is referring to the photo on this page of The Liberty Theatre unique glass divider. …………………….. Answer : I’ve done some research and now believe that what appears to be an Olympic Torch is actually the Statue of Liberty Torch ( It makes sense ) This is the symbol of enlightenment. EG: The Statue of Liberty’s torch lights the way to freedom showing us the path to Liberty. Even the Statue’s official name represents her most important symbol “Liberty Enlightening the World”. It’s the only logical explanation when you put the word liberty together with an image of the torch. I would wager that this was the inspiration behind Lionel Hart’s naming of his theatre…..Greg Lynch –
WOW! Great photo – Takes me way back to approx early 1955 when I worked at the Regent Theatre, Guildford as Assistant Projectionist together with Kevin Yelland, Senior Projectionist and real life pioneering RAAF Jet Pilot. (The theatre was run by Bob Yelland of Consolidated Theatres – Kevin was his son.) I started with great excitement on a Sat night. The movie screening was the MGM production “Beau Brummell” starring Stewart Granger & Elizabeth Taylor. In later months we installed CinemaScope, opening with 20th Century Fox’s “Beneath The 12 Mile Reef” ( “More Than Your Eyes Have Ever Seen” – “The Modern Miracle You See Without Glasses” ) was the catch cry . The theatre at the time was equipped for wide screen, however the ratio was incorrect for CinemaScope. So to achieve the extra width the screen frame was extended and white cloth material tacked on to each end. The result was pretty average, however this was only a temporary measure until a proper replacement C/Scope screen was obtained. (pioneering days) I recall that we only had one set of C/Scope lenses and one print to service two cinemas, which meant somehow switching both lenses & print with the Renown theatre, Midland Junction located in the next suburb, which was also run by Consolidated. After Guildford I moved to Melbourne, and now after a lifetime of working in the Cinema/Motion Picture Industry this writer looks back with warm appreciation to the Golden Era and know we have lost something very special with the passing of our suburban Picture Palaces. Over the years I never lost contact with Bob Yelland and often represented movies nationally that he
had for distribution. Now 62 years has past & I still retain wonderful memories of my time at the Regent Theatre Guildford and of a Master Showman named Bob Yelland…Greg Lynch (revised) – 17 / 8 / 2017 –
Greg Lynch said..
Let me set the scene – If memory serves we moved as a family to Rivervale during the latter part of the 1940’s. The war was not long over & food rationing coupons were still being enforced, which meant clothing, tea, sugar, butter and meat were limited to the number of coupons you had on hand..From an early age I had been interested in movies and cinema, so it wasn’t long before I discovered the local flea house (that’s the Ascot theatre located on the right of the Great Eastern Highway Rivervale, as you proceed towards Belmont) – In my young life a visit to the flicks was always a much looked forward to event. The Ascot during the 40’s was Indeed a flea house, however in retrospect I use the term with much affection. The building had pretensions of Art Deco, but once you walked through the door all bets were off, as it was really only a country hall. (Perth in the 40’s was still a village with approx 250 thousand people and Rivervale a pioneering suburb) The front stalls were equipped with wooden benches without backs, while the ceiling (curiously) was decorated with fading streamers, or bunting. During the winter of 48 my dad took me to a Friday, cartoons & featurette night which included an episode of the Sam Katzman, black-and-white Columbia Pictures serial “Superman” starring Kirk Alyn as Superman – Later I was to learn that this was the first live-action appearance of Superman on film. Some time during 1948 an open air theatre was built along side the cinema, thus becoming “The Ascot Theatre & Gardens”. The term gardens were a stretch as there was very little greenery, however on the positive side the sight-lines were excellent and the stepped canvas seating (300 capacity) more than adequate. The standard ratio screen was erected with it’s back to the highway and it was a pleasure to sit under the stars on a hot summers night in the comforting bosom of the new open air gardens. On one such night Perth were having power problems and electricity was being rationed. In this case the power was on for one hour, then browned out for half an hour. So there we sat like lemmings watching the 1946 Monogram Pictures production “The Shadow Returns” in installments, while the power company played musical chairs with our entertainment. I can’t imagine today’s theatre audience accepting this for a micro second. By 1959 the television juggernaut had began with the launching of TVW-7 Perth, and the resulting cinema audience devastation. The Ascot Theatre & Gardens survived longer than most, however were forced to close in 1966. And now after a lifetime of working in the Cinema/Motion Picture Industry this writer looks back with warm appreciation to the Golden Era and know we have lost something very special with the passing of our suburban Picture Palaces and unique cinemas, such as The Ascot Theatre and Gardens. …Greg Lynch –
Greg Lynch says… I first became aware of Lionel Hart in 1953 when he converted the first floor of a building in Barrack Street, Perth into a 450 seat theatre. He named it “The Liberty” (no doubt inspired by a similar named theatre he had been involved with years before). The Liberty opened Ist March 1954, interestingly with the Ist release? of the 1946 Italian production “Rigoletto”. For those who care Sergio Leone was the assistant director (un-credited) From memory there was a special program screened every Sunday night featuring what was then known as “continental' films”. During the early 50’s Perth cinemas were not allowed to commence screening on Sunday’s until 9.00pm. By 1954 this writer was working in the cinema industry and itching to check out the new venue. Then along came “The 5,000 Fingers of Dr. T” in Wonderama ? (Columbia Pictures 1953). It appeared that Columbia Pictures were moving their first city release away from The Capitol Theatre to The Liberty. “The 5,000 Fingers” became my introduction to The Liberty. There is no doubt that The Liberty Theatre at the time was the most modern cinema in Perth. The layered indirect ceiling lighting was very pleasing and the sight lines excellent. The seating was exceptional and I loved the atmosphere of the place. Today “The 5,000 Fingers of Dr. T” is regarded as a masterpiece and for those wondering about Wonderama . (your guess, it certainly wasn’t a wide screen process) On Saturday 8 October 1955 the Mirror Newspaper ran the following double column advert for The Liberty Theatre ( Quote) “Ist Australian screening. James Stewart in a magnificent outdoor CinemaScope production “The Man From Laramie” (G) plus “The Glass Wall” (A) with Gloria Grahame”. (End Quote). Columbia Pictures “The Man from Laramie” was one of the first Westerns to be filmed in CinemaScope and I believe this was the first scope production to screen at The Liberty. I had cause to drop in while they were lacing up the new wide screen, and then sat through a test screening of “The Man from Laramie” trailer. For those who survive this industry the inaugural installation of CinemaScope in any theatre was an exciting occasion. Many years later in the early 60’s I went to work for Universal Pictures in Melbourne and discovered that Lionel Hart had worked as a salesman for Universal some thirteen years earlier under the guidance of industry patriarch, Dan Casey. By then the name Lionel Hart and his achievements were approaching legendary status….Greg Lynch –
Greg Lynch says: Acknowledging David Coppock’s excellent question, and I quote… “Is the Olympic torch a reference to the 1956 Melbourne Summer Olympic games”? end quote …………………….. Note : David is referring to the photo on this page of The Liberty Theatre unique glass divider. …………………….. Answer : I’ve done some research and now believe that what appears to be an Olympic Torch is actually the Statue of Liberty Torch ( It makes sense ) This is the symbol of enlightenment. EG: The Statue of Liberty’s torch lights the way to freedom showing us the path to Liberty. Even the Statue’s official name represents her most important symbol “Liberty Enlightening the World”. It’s the only logical explanation when you put the word liberty together with an image of the torch. I would wager that this was the inspiration behind Lionel Hart’s naming of his theatre…..Greg Lynch –
WOW! Great photo – Takes me way back to approx early 1955 when I worked at the Regent Theatre, Guildford as Assistant Projectionist together with Kevin Yelland, Senior Projectionist and real life pioneering RAAF Jet Pilot. (The theatre was run by Bob Yelland of Consolidated Theatres – Kevin was his son.) I started with great excitement on a Sat night. The movie screening was the MGM production “Beau Brummell” starring Stewart Granger & Elizabeth Taylor. In later months we installed CinemaScope, opening with 20th Century Fox’s “Beneath The 12 Mile Reef” ( “More Than Your Eyes Have Ever Seen” – “The Modern Miracle You See Without Glasses” ) was the catch cry . The theatre at the time was equipped for wide screen, however the ratio was incorrect for CinemaScope. So to achieve the extra width the screen frame was extended and white cloth material tacked on to each end. The result was pretty average, however this was only a temporary measure until a proper replacement C/Scope screen was obtained. (pioneering days) I recall that we only had one set of C/Scope lenses and one print to service two cinemas, which meant somehow switching both lenses & print with the Renown theatre, Midland Junction located in the next suburb, which was also run by Consolidated. After Guildford I moved to Melbourne, and now after a lifetime of working in the Cinema/Motion Picture Industry this writer looks back with warm appreciation to the Golden Era and know we have lost something very special with the passing of our suburban Picture Palaces. Over the years I never lost contact with Bob Yelland and often represented movies nationally that he had for distribution. Now 62 years has past & I still retain wonderful memories of my time at the Regent Theatre Guildford and of a Master Showman named Bob Yelland…Greg Lynch (revised) – 17 / 8 / 2017 –
Greg Lynch said.. Let me set the scene – If memory serves we moved as a family to Rivervale during the latter part of the 1940’s. The war was not long over & food rationing coupons were still being enforced, which meant clothing, tea, sugar, butter and meat were limited to the number of coupons you had on hand..From an early age I had been interested in movies and cinema, so it wasn’t long before I discovered the local flea house (that’s the Ascot theatre located on the right of the Great Eastern Highway Rivervale, as you proceed towards Belmont) – In my young life a visit to the flicks was always a much looked forward to event. The Ascot during the 40’s was Indeed a flea house, however in retrospect I use the term with much affection. The building had pretensions of Art Deco, but once you walked through the door all bets were off, as it was really only a country hall. (Perth in the 40’s was still a village with approx 250 thousand people and Rivervale a pioneering suburb) The front stalls were equipped with wooden benches without backs, while the ceiling (curiously) was decorated with fading streamers, or bunting. During the winter of 48 my dad took me to a Friday, cartoons & featurette night which included an episode of the Sam Katzman, black-and-white Columbia Pictures serial “Superman” starring Kirk Alyn as Superman – Later I was to learn that this was the first live-action appearance of Superman on film. Some time during 1948 an open air theatre was built along side the cinema, thus becoming “The Ascot Theatre & Gardens”. The term gardens were a stretch as there was very little greenery, however on the positive side the sight-lines were excellent and the stepped canvas seating (300 capacity) more than adequate. The standard ratio screen was erected with it’s back to the highway and it was a pleasure to sit under the stars on a hot summers night in the comforting bosom of the new open air gardens. On one such night Perth were having power problems and electricity was being rationed. In this case the power was on for one hour, then browned out for half an hour. So there we sat like lemmings watching the 1946 Monogram Pictures production “The Shadow Returns” in installments, while the power company played musical chairs with our entertainment. I can’t imagine today’s theatre audience accepting this for a micro second. By 1959 the television juggernaut had began with the launching of TVW-7 Perth, and the resulting cinema audience devastation. The Ascot Theatre & Gardens survived longer than most, however were forced to close in 1966. And now after a lifetime of working in the Cinema/Motion Picture Industry this writer looks back with warm appreciation to the Golden Era and know we have lost something very special with the passing of our suburban Picture Palaces and unique cinemas, such as The Ascot Theatre and Gardens. …Greg Lynch –