Photos favorited by film

  • <p>New Broadway Theatre and Gardens 330 Albany Highway, Victoria Park, WA</p>
            
              <h1>Photo - This is exactly where the Picture Gardens were located (on the land at the back of the Broadway Theatre)</h1>
            
              <p>If you look into the distance at the rear you will see St Joachim’s Hall on Shepperton Road. This writer went to see one movie at the gardens in 1954, Paramount’s Knock on Wood with Danny Kaye. The screen was placed at the rear of the Broadway Theatre building with the audience looking back on it. Sadly no photos exist to my knowledge of these Picture Gardens, as is the case with so many theatres from the Golden Era. So we will have to make do with a view of the existing carpark which will tell you it was a good size..</p>
            
              <p>Contributed by Greg Lynch - <script type="text/javascript">
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  • <p>Little Cinema 1400 Willowbrook Mall, Wayne, NJ</p>
            
              <p>The Stewardesses is a 1969 American 3D softcore comedy film written and directed by Allan Silliphant (credited onscreen as Alf Silliman Jr.) and starring Christina Hart, Monica Gayle, Paula Erickson and Donna Stanley.</p>
            
              <h1>The Stewardesses - In budget-relative terms it remains the most profitable 3D film ever released</h1>
            
              <p>Produced on a budget of just over $100,000, the film grossed $26 million over its theatrical run. In budget-relative terms it remains the most profitable 3D film ever released. Originally self-rated “X”, in 1971 the film was re-edited with newly shot scenes to receive an “R” rating from the Motion Picture Association of America to qualify for a wide general release.</p>
            
              <p>The film was shot in 35 mm color and projected in a new, single-strip, side-by-side polarized format called StereoVision.</p>
            
              <p>Description - The image was compressed horizontally in printing, then expanded with an integrated anamorphic “un-squeezing” lens for projection. Unlike some prior technologies it was impossible for the two film images to go out of sync, because they were side by side on the same strip of film. All showings used sturdier plastic-framed polarized glasses, rather than the familiar paper ones of the 1950s. Silliphant was the original president of StereoVision International Inc., and was the co-inventor of the basic process alongside Chris Condon..</p>
            
              <p>In 1972, the film was blown up to side-by-side 70 mm 3D, which removed the requirement for anamorphics due to the wider frame.</p>
            
              <p>Contributed by Greg Lynch - <script type="text/javascript">
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  • <h1>The first CinemaScope installation in Perth was at Hoyts Ambassadors theatre with 20th Century Fox’s The Robe.</h1>
            
              <p>Ambassadors Theatre 625 Hay Street, Perth, WA -</p>
            
              <p>George Griffith, the Southern District Supervisor of Hoyts Theatres Ltd arrived in Perth on Oct 22, 1953 to meet with Sydney F. Albright, the managing director of Westrex and organise the installation of CinemaScope equipment at The Ambassadors. Hoyts Theatres Ltd, managing director Ernest Turnbull made an advance press announcement.</p>
            
              <p>Hoyts will spend £20,000 equipping the Ambassadors for CinemaScope. He went on : “Instead of the limited, almost-square picture we know today, CinemaScope gives real-life perspective on a curved screen, two and a half times the normal width". “Sunday Times” newspaper Perth, 22 Nov 1953.</p>
            
              <h1>Fri, Nov 13 1953. Mr. W. Nicholls, Perth supervising manager of Hoyts greeted Vic Basham and his co-workers as they arrived at The Ambassadors to begin the installation of this new state of the art technology. Great care had to be taken with the new Miracle Mirror screen which measured 39 feet wide by 15 feet high. A Miracle Mirror screen is fragile, the surface can be damaged by rubbing or pressing, this is usually represented by dark spots that cannot be removed.</h1>
            
              <p>The nervous handlers mounted the huge screen on a steel tubular frame with a curvature created of l8 inches. Supplementing the new screen motorized black masking was installed to cater for all known screen ratios. Reorganisation in the theatre for the new screen meant the loss of 14 seats from the front stalls edges. The lenses were supplied by The Bausch & Lomb Optical Co. This also meant the installation of the Westrex four channel magnetic sound system. A process that records on 4 separate magnetic tracks at point of origin, and is distributed through three speakers (left, center, right) arranged behind the screen, with the 4th effects track piped around the auditorium via strategically placed (APs) audience participation speakers. Aside - Strangely, films carrying 4 magnetic tracks were advertised as being in stereophonic sound, when stereo is only two tracks while four would be quadraphonic.</p>
            
              <h1>The Ambassadors - Viewing CinemaScope for the first time was an eye-opening experience. Possibly the most impressive example of the wide screen anamorphic process ever in a Western Australian cinema.</h1>
            
              <p>The Ambassadors was always a special place for Vic as he would fondly describe to anybody that would listen, that thrilling moment after the installation was completed, when the crew settled in the middle stalls to view their handy work, as the masking opened to reveal The Robe, presented in CinemaScope and Stereophonic sound. The likes they had never heard or seen before. Viewing CinemaScope for the first time was an eye-opening experience. Possibly the most impressive example of the wide screen anamorphic process ever in a Western Australian cinema.</p>
            
              <p>The American director of Hoyts Theatres Ltd. (Mr. Harry C. Seipel) arrived in Perth to host the CinemaScope industry day on Tues, 22 Dec 1953. Film exhibitors and reviewers crowded in and were treated to a demonstration of CinemaScope along with special film clips designed to showcase the directional qualities of stereophonic sound. Vic Basham and a contingent of Westrex staff were present to answer technical questions. The task now was to convince Western Australian exhibitors of the benefits of installing CinemaScope in their theatres. The press described the demonstration in glowing terms.</p>
            
              <h1>The Sunday Times wrote - CinemaScope on Its great wide screen is going to come as an astonishingly pleasant surprise to the people of Perth. Sunday Times Sun 27 Dec 1953.</h1>
            
              <p>The Robe opened at The Ambassadors to turn away business on Dec 31,1953, which included a special midnight screening on New Years Eve. The advertising boasted that The Robe would be presented in lifelike realism through the only Anamorphic lenses and curved Miracle Mirror screen in WA..</p>
            
              <p>Contributed by Greg Lynch - <script type="text/javascript">
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  • <p>Rapallo Theatre 150-62 Flinders Street, Melbourne, VIC</p>
            
              <p>Photo - Lights down - Theatrical atmos at it’s best.</p>
            
              <p>The Upper Circle of the State was converted to the Rapallo Theatre on December 20 1963, utilizing the original bio box. The opening feature was the Universal Pictures production “CHARADE”.</p>
            
              <p>Contributed by Greg Lynch - <script type="text/javascript">
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  • <h1>1977 Little Tony (The Italian Elvis) plays The Olympia Theatre.</h1>
            
              <p>Dec 1971 - Ben & Anna Parri take over the lease and re-name the theatre “The Olympia”. They bring with them a dramatic policy change which involves the screening of Italian / Greek & Chinese films. In addition major live music acts (such as Little Tony - The Italian Elvis) are imported from Italy for presentation at the theatre. Over a 7 year period the policy is very successful resulting in sell-out concerts. At the end of the lease the Parri’s move to the Astor Theatre Mt Lawley.</p>
            
              <p>Contributed by Greg Lynch - <script type="text/javascript">
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  • <p>Metro Theatre 20-30 Bourke Street, Melbourne, VIC - 1942</p>
            
              <h1>Major Historic Cinema Ephemera item dated 1942</h1>
            
              <p>Source - Public Record Office Victoria</p>
            
              <p>Subject - Theatre change of ownership.</p>
            
              <h1>Item - Metro Goldwyn Mayer letter re: taking control of The St James Theatre Bourke Street..</h1>
            
              <p>Description of letter - This is a letter forwarded to The Public Health Department by P.j.Telfer (District Manager), advising that Metro Goldwyn Mayer have taken over full control of The St James Theatre from April 3, 1942.</p>
            
              <p>Note: Metro continued to operate under the name St James until Dec 17, 1952 where it was re-named Metro Bourke Street. The opening program was Mario Lanza in BECAUSE YOUR MINE.</p>
            
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  • <p>Greater Union Russell Cinemas 131 Russell Street, Melbourne, VIC.</p>
            
              <p>Photo - Lights down - Beautiful atmos.</p>
            
              <p>Contributed by Greg Lynch - <script type="text/javascript">
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  • <p>Athenaeum Theatre 188 Collins Street, Melbourne, VIC 1957</p>
            
              <h1>A niche at the top contains a statue of Athena.</h1>
            
              <p>The Building History -  Land was purchased in 1840 in Collins Street and the original building, a two-storey, rendered brick structure, was completed in 1842.</p>
            
              <p>By 1854, two single-storey wings were added to the facade on either side of the entrance to provide commercial accomodation and a valuable source of income for the organisation. In 1872 a new hall was designed and built by architect Alfred Smith. The organisation was renamed the Melbourne Athenaeum and the refurbished building opened by the Governor of Victoria.</p>
            
              <p>The next construction occurred in 1886, when the front of the building as it now stands was constructed, creating a three-storey building with a classical stuccoed facade, an example of the boom-style architecture of the late 1880s.</p>
            
              <p>A niche at the top contains a statue of Athena. The architects for the new work were Smith and Johnston.</p>
            
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  • <p>Shaft Adult Cinema 264 Swanston Street, Melbourne</p>
            
              <h1>The Stewardesses in 3D - Commenced Jun 4, 1982 and ran through to July 23, 1982 - An 8 week season and a box office record for this cinema.</h1>
            
              <p>The Stewardesses in 3D was distributed in Australia by Greg Lynch Film Distributors.</p>
            
              <h1>3D stereo technology</h1>
            
              <p>The film was shot in 35 mm color and projected in a new, single-strip, side-by-side polarized format called StereoVision. The image was compressed horizontally in printing, then expanded with an integrated anamorphic “unsqueezing” lens for projection. Unlike some prior technologies it was impossible for the two film images to go out of sync, because they were side by side on the same strip of film.</p>
            
              <p>Silliphant was the original president of StereoVision International Inc., and was the co-inventor of the basic process alongside Chris Condon.</p>
            
              <h1>The Stewardesses is the highest-grossing 3D film in history until the release of Avatar in 2009.</h1>
            
              <p>The Stewardesses is a 1969 American 3D softcore comedy film written and directed by Allan Silliphant (credited onscreen as Alf Silliman Jr.) and starring Christina Hart, Monica Gayle, Paula Erickson and Donna Stanley.</p>
            
              <p>Produced on a budget of just over $100,000, the film grossed $26 million over its theatrical run, becoming the highest-grossing 3D film in history until the release of Avatar in 2009. In budget-relative terms it remains the most profitable 3D film ever released. Originally self-rated “X”, in 1971 the film was re-edited with newly shot scenes to receive an “R” rating from the Motion Picture Association of America to qualify for a wide general release.</p>
            
              <p>Contributed by Greg Lynch - <script type="text/javascript">
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  • <p>Olympia Theatre at Gusman Center 174 E. Flagler Street, Miami, FL - The Theatre Beautiful.</p>
            
              <p>Photo - Olympia Theater</p>
            
              <p>The Olympia Theater sits proudly at 174 E. Flagler Street, Downtown Miami’s historic Main Street, which rose to prominence in the early years of the 20th century.</p>
            
              <p>Contributed by Greg Lynch - <script type="text/javascript">
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  • <p>St. James Theatre 107-111 Elizabeth Street, Sydney, NSW - Another view in High Definition.</p>
            
              <p>Image - Powerhouse Museum Sydney.</p>
            
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  • <p>United Cinemas Avalon 39 Old Barranjoey Road, Avalon, NSW - Another view</p>
            
              <h1>Super Salesmanship 1966</h1>
            
              <p>Promotion for the screening of the Grand Prix at the Avalon Cinema in 1966. Photo courtesy of the Avalon Beach Historical Society.</p>
            
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  • <p>Mayfair Newsreel Theatrette 721 Hay Street, Perth, WA – Old style (Tom & Jerry) showmanship at the Mayfair theatrette</p>
            
              <p>Posted on facebook by Muzza Guzzisti & the Museum of Perth on May 6, 2018 – Comment : Downstairs at the Mayfair Picture Theatre Hay St Perth. Me on the left, my brother Ron on the right.</p>
            
              <p>Great memories & great photo of the Golden 50’s in this much loved basement newsreel theatrette.</p>
            
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  • <p>Princess Theatre 163 Spring Street, Melbourne, VIC - The Great Franquin - 1957</p>
            
              <h1>The Great Franquin - notes by Garnet H. Carroll.</h1>
            
              <p>*Born in Christchurch, New Zealand in 1914, hypnotist and showman Francis Patrick Joseph Quinn came to Australia in 1950, performing under the stage name The Great Franquin. In Sydney, his show played for several months, followed by more than a year at the Princess Theatre in Melbourne. He also toured in Hawaii, Canada, the United States and South Africa, with numerous return seasons in Australia and New Zealand.</p>
            
              <p>As well as hypnotism, Franquin demonstrated feats of memory and an ability to conduct rapid calculations. In 1957, John Sands named a board game after him, called Franquin’s ESP.</p>
            
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  • <p>Building the Mocardy Drive-in Commercial Road, Wongan Hills WA - 1959 Later to become the Wongan Hills Drive-in.</p>
            
              <p>Photo courtesy of the Basham family.</p>
            
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  • <p>Shire Hall 100 Belmore Street, Yarrawonga, VIC - Ticket stub 1958.</p>
            
              <p>Image source - Yarrawonga Historical Society.</p>
            
              <h1>Patrick O’Hagan to play Yarrawonga</h1>
            
              <p>Source - ABC weekly Vol. 20 No. 11 (12 March 1958)</p>
            
              <p>The Irish tenor Patrick O’Hagan will open his Australian tour on Thursday, April 3, 1958 with a concert in Sydney. He makes his first appearance in Brisbane on Saturday,June 21,</p>
            
              <h1>Favourite song</h1>
            
              <p>Patrick O’Hagan’s favourite song is “love thee. Dearest.” He tells how as a boy soprano he sang it at (an Irish eisteddfod) and was, as he put it. “strongly fancied to win.” However, he was fourth. His father, when told, said: “Why, that’s grand.” And asked how many boys competed. Even when told there had been four competitors only, he still thought his boy’s placing was “grand ”</p>
            
              <h1>Success</h1>
            
              <p>Patrick O'Hagan owes much of his success as a concert artist to the late Hal Stead, who died suddenly last month during O’Hagan’s New Zealand tour. For seven and a half years Hal Stead was O’Hagan’s accompanist, coach, business manager and friend. Their association began when the young Irishman went to the Australian in London and asked for an opinion on his voice. Soon he was working daily under Stead’s supervision. In the course of their musical association, the two men became close personal friends. After the Australian tour, Patrick O’Hagan hopes to go to France to study the language and acquire a repertoire of French songs. The Australian tour, which covers 80 concerts, lasts almost until the end of the year, and Mr. O’Hagan is hoping to bring out his wife and three children, Michael, Sean, and Eamonn. who is only 18 months.</p>
            
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  • <p>Plaza Theatre Plaza Arcade, Hay Street Mall, Perth, WA</p>
            
              <p>Photo - Courtesy of “Two Feet & a Heartbeat Perth”</p>
            
              <p>Description - This photo reveals the original screen painted on the back wall.</p>
            
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  • <p>Civic Theatre 267 Queen Street, Auckland</p>
            
              <h1>1953 CinemaScope comes to the Civic ( Author Ric Carlyon)</h1>
            
              <p>Amalgamated’s close commercial arrangements with Fox no doubt contributed to the rapid introduction of Cinemascope to New Zealand. The Civic was chosen and its screen was greatly enlarged, though some difficulties were encountered because of the theatre’s long throw from the projectors to the screen, far further than average cinemas. In theory, the longer the throw the wider the picture: adjustments were made to the lenses to ensure the picture was contained to the new screen and did not overflow either side of the proscenium which had been re-engineered to cater for the wide, wide screen.</p>
            
              <h1>The Robe in CinemaScope opened at the Civic in November 1953</h1>
            
              <p>The first movie ever released in CinemaScope was the biblical story “The Robe” which opened at the Civic in November 1953. It starred Richard Burton, Jean Simmons, Victor Mature, and Michael Rennie with Dean Jagger, Jay Robinson, Richard Boone and Jeff Morrow.</p>
            
              <p>Amalgamated made much of it. The Civic was to be the first theatre outside the US to screen the feature after its New York debut, the film quickly proving a box-office hit right across the States. The outside of the Civic had a make-over never before ventured to promote a single movie. Apart from the enormous billboard above the front doors, long signs (as if to accentuate CinemaScope’s dimension) announcing “The Robe” were erected along the length of the theatre’s wall on both Queen Street and Wellesley Street frontages. And for the first time in Auckland “travelling lights” bordered the signs: white lights that appeared to chase each other around the perimeter.</p>
            
              <h1>The new, wide, CinemaScope screen</h1>
            
              <p>Needless to say, there was a grand premiere to welcome the new spectacle, but there were a few difficulties on the night as Michael Moodabe, Junior, recalled in his book “Peanuts and Pictures: The Life and Times of M.J. Moodabe”. Friday evening shoppers and curious crowds blocked the roads outside the Civic, delaying the arrival of dignitaries, the movie started before some members of the official party were seated and the curtains only hesitatingly opened to the new, wide, CinemaScope screen requirement.</p>
            
              <h1>Extreme close-ups</h1>
            
              <p>Aficionados picked some problems with the sound track, particularly music, and sometimes a little distortion of faces in extreme close-ups, a shot which was avoided in follow up Cinemascope productions until the lenses were adjusted to overcome the problem.</p>
            
              <h1>Nevertheless CinemaScope had arrived via the Civic</h1>
            
              <p>Nevertheless CinemaScope had arrived via the Civic, a stepping stone to 70mm, Todd-AO, Techniscope and Cinerama. And “The Robe” proved very popular at the Civic: internationally it was the number one hit - by Ric Carlyon.</p>
            
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  • <h1>1956 The installation of CinemaScope at The Grove.</h1>
            
              <p>Don Forbes (Theatre Manager) and The Grove Pictures management treated the installation of CinemaScope at The Grove as a special occasion – To quote the local newspaper 22/5/56 – “CinemaScope was introduced to local audiences on Thursday night, when the President of The Yarrawonga Shire C.F.Keenan opened this new method of presentation.</p>
            
              <p>The district band played selections in front of the theatre, while many well known residents were guests of the management. Don Forbes was highly regarded by the Cinema Industry as an excellent Showman.– The Grove Pictures Display @ The YARRAWONGA – MULWALA PIONEER MUSEUM @ 151 Melbourne Street, Mulwala, NSW is available for viewing, Wed to Sun 1.00pm to 4.30pm … Image of leaflet courtesy of Alex & Ann Sloane – Contributed by Greg Lynch – <script type="text/javascript">
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  • <p>Grove Open Air Theatre 62 Belmore Street, Yarrawonga, VIC</p>
            
              <h1>Celebrating Beverley McFarlane, who was crowned “Miss Victoria” in 1959.</h1>
            
              <p>Beverley at the time was a popular Usherette at The Grove Theatre Yarrawonga. Here she is pictured in front of the iconic open air theatre.</p>
            
              <p>It’s been 50 years since Miss Victoria 1959 received her welcome home reception at Yarrawonga/Mulwala. Beverley McFarlane (now Beverley Long) was crowned Miss Victoria on July 29th, 1959. A couple of days later, Beverley returned home to Yarrawonga to what could be described as a hero’s welcome with 1,000 people cheering as she arrived at the train station. Beverly was then driven to the Yarrawonga Shire Hall behind a cavalcade of marching girls and the local brass band. Fifty years on the day has been re-enacted, and again there was much celebration.</p>
            
              <p>This event has been immortalized at the Pioneer Museum at Mulwala, with a display of artifacts & a short video detailing the history of the event. The event which put Yarrawonga on the map. The YARRAWONGA – MULWALA PIONEER MUSEUM @ 151 Melbourne Street, Mulwala, NSW – Opening times Wed to Sun 1.00pm to 4.30pm … Photo courtesy of Alex & Ann Sloane –</p>
            
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  • <p>Summer Hill Theatre 1 Sloane Street, Summer Hill, NSW</p>
            
              <h1>The statue of a naked goddess stands in an arched alcove on the front of the building.</h1>
            
              <p>Spanish baroque frivolity derived from Hollywood; in some views it looks as much arabesque as baroque but it was certainly Spanish in inspiration, with a kind of galleon’s poop looming at the front, with the statue of a naked goddess in an arched alcove within.</p>
            
              <h1>I’d love the statue from the facade</h1>
            
              <p>Gail Ward, whose husband John Ward went on to become mayor of Ashfield Council in 1991, was also part of the protests.</p>
            
              <p>“I remember telling one of the workmen who was demolishing the building that I’d love the statue from the facade, he asked if I had $100 and unfortunately I didn’t- so he just threw it down from the roof and smashed it,” she said.</p>
            
              <p>Located in the western Sydney suburb of Summer Hill. The Summer Hill Theatre opened on 29th October 1930. Designed in a magnificent Spanish Baroque style by architect Emile Sodersten. The facade looked like the ornately carved stern of a 17th Century Spanish galleon. Inside the 2,043-seat auditorium, decorated by interior designer Arnold Zimmerman, the proscenium and side walls contained false boxes on each side. There were large urns, and gargoyles, to enhance the atmosphere of the building. In the centre of the ceiling was a large saucer dome, which had a huge chandelier hanging from its centre - Notes by Ken Roe.</p>
            
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  • <p>Premier Summer Gardens 293 Stirling Street, East Perth, WA</p>
            
              <h1>Premier Summer Gardens</h1>
            
              <p>Contributed by Greg Lynch - <script type="text/javascript">
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  • <p>Hoyts Ivanhoe Theatre 226 Upper Heidelberg Road, Ivanhoe VIC.</p>
            
              <p>Photo by Tim Ingram, March 1971</p>
            
              <p>Located in the north-east Melbourne district of Ivanhoe. The Hoyts Ivanhoe Theatre was opened on 25th October 1924 with Reginald Denny in “A Reckless Age”. It was designed by architectural firm Kaberry & Chard and seating for 1,700 was provided on a stadium plan with a raised stepped section at the rear, rather than the usual overhanging balcony. In 1931 it was remodeled to the plans of architectural firm Taylor, Soilleux and Overend.</p>
            
              <p>The Hoyts Ivanhoe Theatre was closed on 29th June 1968 with Elvis Presley in “Clambake” & “Thunderbirds Are Go” Notes by - Ken Roe.</p>
            
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  • <p>Athenaeum Theatre 188 Collins Street, Melbourne, VIC - Dame Anna Neagle visits The Athenaeum 1971.</p>
            
              <p>Image by photographer Ian Amet, as featured in the book “From Gaolbird to Lyrebird: A life in Australian Ballet”.
              by Barry Kitcher</p>
            
              <p>In 1971 the great British actress Dame Anna Neagle, who was visiting Melbourne to star in the musical Charlie Girl, attended a special charity screening at The Athenaeum of one of her greatest films, Sixty Glorious Years. The photo features from left theatre manager Barry Kitcher, Hoyts Victorian Manager Jack Neylan & the star of Sixty Glorious Years, Dame Anna Neagle.</p>
            
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  • <p>The observations, and opinion of a “Picture Show Man”</p>
            
              <p>In the 1950/60’s, Melbourne came to resemble German cities after the Allied Forces bombing, as “Whelan The Wrecker” went about his business changing the Melbourne skyline. His fame was such a local Rock ‘n’ Roll Band of the time took on his name and became “Whelan & The Wreckers”, recording the title song from the Fox movie “Hound Dog Man” on the iconic Melbourne, Planet Record Label – Here is a link https://www.youtube.com/watch?v=pdkLTxC_JNM – Whelan & His Wreckers tore down a lot of the old OZ, and it’s ironic that “Hound Dog Man” starring Fabian, and filmed in CinemaScope, played “The Rialto” prior to it’s closure. Here on this page is a photo supplied, courtesy of the “Kew History Group”, featuring the last days and moments of the “The Rialto Theatre” The ominous sign in the upstairs window reads “Whelan The Wrecker is Here”</p>
            
              <p>After a lifetime in the Cinema / Motion Picture industry I feel qualified to write this next paragraph of opinion..I believe there was a case for the preservation of “The Rialto” in the form of a heritage listing. By the time of it’s closure the “Cinema Industry” had stabilized, and it could be argued that it’s unique, part stadium design, along with it’s capacity and large foyer was more than suitable for twinning. An intimate cinema could have been housed in the upstairs section of the building without affecting the running of the main room. The projection booth was already located on the ground floor. “The Rialto Theatre” was the heart of the community. During it’s period of operation, more people had been to “The Rialto” than any other building In Kew. Solid and well built in the old style, “The Rialto” had stood in High Street for 65 years. The size of “The Rialto” made it suitable for live performances & the screening of movies. Looking back into history “The Rialto” was the center of many heritage events. It’s the place where (local resident) Robert Menzies during the 2nd world war, addressed and rallied the nation to turn – away crowds. It’s the place where the Anzac’s gathered on numerous occasions.</p>
            
              <p>Yes there were countless reasons for considering a heritage listing. I look back with warm appreciation to the Golden Era, and know we have lost something very special with the passing of our “Picture Palaces”, and wonder what might have been. Kew is a poorer place without it. – Contributed by GREG LYNCH – <script type="text/javascript">
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  • <h1>70MM installation 10th June 1960</h1>
            
              <p>The Majestic closed on the 25th February 1960 for the installation of Cinemeccanica Victoria X dual gauge 70/35mm projectors and a 6-channel sound system, reopening on the 10th June 1960 as the Chelsea Cinema with the Todd-AO 70mm season of Porgy and Bess. The Chelsea presented thirty eight [38] 70mm presentations.</p>
            
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  • <p>St. James Theatre 107-111 Elizabeth Street, Sydney, NSW - Blackboard Jungle July 1955</p>
            
              <p>Blackboard Jungle is a 1955 American social drama film about teachers in an interracial inner-city school, based on the 1954 novel The Blackboard Jungle by Evan Hunter and adapted for the screen and directed by Richard Brooks. It is remembered for its innovative use of rock and roll in its soundtrack, for casting grown adults as school children, and for the unusual breakout role of a black cast member, future Oscar winner and star Sidney Poitier as a rebellious, yet musically talented student.</p>
            
              <p>According to MGM records the film earned $5,292,000 in the US and Canada and $2,852,000 elsewhere.</p>
            
              <p>“(We’re Gonna) Rock Around The Clock” by Bill Haley & His Comets appeared over the opening credits of the 1955 film Blackboard Jungle, starring Glenn Ford and Oscar-winning legend Sidney Poitier.</p>
            
              <p>The St. James Theatre was taken over by MGM in 1934 and screened many of the studio’s classic films. The capacity of the theatre was listed in 1955 as 1,609 seats. The grand cinema closed with “Gone With The Wind” on 20 March 1971 and was demolished to make way for a 26 storey office block.</p>
            
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  • <p>BCC Strand Theatre 163 Margaret Street, Toowoomba, QLD</p>
            
              <h1>A mysterious statue of a female figure holding a lamp</h1>
            
              <p>Description - There are three circular leadlight windows, which project over the entrance and are supported by four large rendered brackets which surround a mysterious statue of a female figure holding a lamp. Lunette windows to either side have leadlight panels.</p>
            
              <h1>The Strand Theatre is a heritage-listed cinema</h1>
            
              <p>Strand Theatre is a heritage-listed cinema at 159 - 167 Margaret Street, Toowoomba City, Toowoomba, Toowoomba Region, Queensland, Australia. It was designed by George Henry Male Addison and built from 1915 to 1933 by Luke Halley. It was added to the Queensland Heritage Register on 21 October 1992.</p>
            
              <p>History - This three-storeyed brick picture theatre was erected in 1915-16 for James Patrick Newman, a Toowoomba City alderman.It was constructed during the early and enthusiastic adoption of cinema by Australian audiences in the first two decades of the 20th century, when the new nation boasted a truly vibrant local film industry which competed healthily with imported British and American product. Its construction was illustrative of the early 20th century attempt to legitimise cinema as a respectable middle-class entertainment in Australia.</p>
            
              <p>In 1915 Newman commissioned established Brisbane architect George Henry Male Addison to design a picture theatre on a site in Margaret Street adjoining the Crown Hotel. This site had operated as the Crystal Palace Picture Gardens since early 1914. Addison called tenders in July 1915, and the contract was awarded to Luke Halley.The American-derived design was similar to picture theatres erected in other Australian cities during the 1910s.</p>
            
              <p>In particular, the large semi-circular glazed arch was reminiscent of the Majestic (1912) and Britannia (1913) in Melbourne and the Pavilion (1913) in Brisbane. It was, however, unorthodox in that the top level was designed as additional accommodation for the Crown Hotel, which was also owned by JP Newman. This third storey was accessed via a staircase from the hotel - notes by hey-australia.com</p>
            
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  • <p>King’s Theatre, Russell Street Melbourne Victoria – Opened Sat July 11, 1908</p>
            
              <h1>KING’S THEATRE</h1>
            
              <p>The KING’S THEATRE in Russell Street Melbourne, between Bourke and Little Collins Streets, was opened on 11 July 1908. The building was a three storey asymmetrical series of bays ending with a pavilion, leading to a small vestibule. The gallery was still entered by staircases from lanes on both sides of the building.</p>
            
              <p>Built by William Anderson</p>
            
              <p>It was built and owned by William Anderson for his company, so from the start it had an association with the production of spectacular melodrama. Anderson continued his long association with revivals of Alfred Dampier’s successes For the Term of his Natural Life' and Robbery Under Arms', as well as with the Australian plays of Albert Edmunds (the pseudonym of Edmund Duggan and Albert Edward (Bert) Bailey). Anderson also produced other plays with strongly nationalist and on occasion xenophobic sentiments, including For Homestead and Honour' in 1912, and William Randolph Bedford’s White Australia' in 1909. For this production Anderson installed an act drop showing an Australian military continent against white, overlaid on a bright blue background with the Eureka flag in its centre.</p>
            
              <h1>Cost thirty two thousand pounds</h1>
            
              <p>The King’s cost thirty two thousand pounds, seated two thousand two hundred people, and had the latest in modern technology. The fly-tower stage, four stories high, had dressing and wardrobe rooms on each storey and a gallery with switchboard and dimmers for the electric lighting. In the interior marble featured extensively on the floor and walls of the vestibule and in the staircases to the dress circle, while the auditorium was decorated in gold, cobalt blue and royal blue in what was called the modern French Renaissance style. There was a lavish use of fibrous plaster to create effects such as floral devices and cupids on the front of the boxes and over the proscenium, where there was a panel showing Aurora with the children of Joy and Happiness painted to the effect of a tapestry. The dress circle seats were upholstered in blue velvet to match the front curtain, which featured a monogram in gold silk, surmounted by a crown.</p>
            
              <p>Projection equipment was installed in 1942</p>
            
              <p>Anderson, who had been nearly bankrupted by his failed Wonderland City investment at Tamarama, handed over the management of the theatre to Bailey and Duggan in 1911, but he retained ownership of the King’s and held his final season there in July 1929. The theatre was also leased by J. & N. Tait Ltd., J. C. Williamson’s and to Fuller’s who installed movie projection equipment in 1942. It was used briefly `live' from 1949-51 but then returned to showing films. After Norman B. Rydge purchased the freehold, the theatre was remodeled and reopened as the Barclay cinema in March 1959 but it was finally demolished in 1977 for the development of a multi cinema complex – Contributed by Greg Lynch – <script type="text/javascript">
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  • <p>Piccadilly Cinema Centre 700 Hay Street, Perth, WA</p>
            
              <h1>VistaVision Comes To Perth’s Piccadilly</h1>
            
              <p>Greg Lynch says – VistaVision Comes To Perth’s Piccadilly – Photo of Piccadilly interior, courtesy of Roy Mudge - During 1954 management installed new lenses, a large seamless Miracle Mirror screen, (to suit all existing ratios) and made major structural alterations in preparation for Paramount’s “White Christmas” which was to be presented in VistaVision (Motion Picture High Fidelity). Yes the Piccadilly was getting ready to give “The Ambassadors” located further up Hay Street, who were playing big screen CinemaScope a run for their money..</p>
            
              <h1>The proscenium was widened</h1>
            
              <p>The proscenium was widened, almost wall to wall. Roy Mudge (A legendary industry identity) who had a lifetime association with Perth cinema tells me that the two front exits got in the way and had to be dropped down level with the stage. This meant going down below floor level with a three stair step down, which required the installation of hand rails. Then it was discovered that when the curtains were fully opened they were gathering on the sides, and reducing the size of the screen, and thus it was decided to install drop down curtains. So there it was at great expense – a wall to wall screen with magnificent gold curtain drapes, along with new lenses and apertures. White Christmas in VistaVision debuted at The Piccadilly, 23rd April 1955.</p>
            
              <h1>VistaVision</h1>
            
              <p>During the season this writer was lucky enough to catch an intermediate session, and felt that the on screen results were most impressive. VistaVision was also installed at the sister venue “The Princess Theatre, Fremantle”. In my opinion these two locations were the only optimum installation of VistaVision ever made in Western Australia. I suspect that the VistaVision four sprocket, single frame compromise playing at the Piccadilly and The Princess was appreciated more by those within the industry, rather than the general picture going public who had no access or understanding of the original double frame horizontal format.</p>
            
              <h1>A large seamless screen</h1>
            
              <p>Make up your own mind, here is the 1954 publicity blurb from Paramount directed at Exhibitors – Quote “ VistaVision release prints will play in any theater anywhere in the world with an improvement in picture quality. Some improvement will be apparent even on the old “postage stamp” screens in theaters where not one cent has been spent to improve the presentation. Theaters that have large seamless screens and good projection equipment will gain full advantage of VistaVision without further change or expenditure.“ end quote.</p>
            
              <p>During that same period I can recall extended seasons at the Piccadilly for Rock Hudson’s “Magnificent Obsession” and it’s sequel “All That Heaven Allows” also “The Glenn Miller Story'” all from Universal Pictures, and all were box office bonanzas for The Piccadilly – The Piccadilly VistaVision installation details courtesy of Roy Mudge –</p>
            
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