Named for Australian cinema pioneer Charles Chauvel when it was the Australian Film Institute’s Sydney cinema. (In Melbourne they had the Longford, named for Raymond Longford.)
Slightly odd experience of seeing ‘Scandal’ here: the poster for it at the entrance showed John Hurt in front of a 1960s image of the neon signs of Piccadilly Circus - and then I turned around and saw the 1989 version of the same view!
Saw Rollerball here in 1975! Then in 1988-89 worked in the office building that sadly replaced it, ‘Mayfair House’. Early history: http://dictionaryofsydney.org/entry/national_amphitheatre
It’s mentioned in Tom Wolfe’s first book, ‘The Kandy-Kolored Tangerine-Flake Streamline Baby’ (1966), in a piece called ‘Putting Daddy On’. He accompanies a friend named Parker (who seems to be an advertising executive) down to Avenue B to seek out Parker’s son, who has dropped out of Columbia:
“Here is Parker with his uptown clothes and his anointed jowls, walking past the old Avenue B cinema, a great rotting building with lions' heads and shattered lepers' windows…Here is this ripening. forty-six-year-old agency executive walking along amidst the melted store fronts…Everything is collapsing under New York moss, which is a combination of lint and soot.”
Named for Australian cinema pioneer Charles Chauvel when it was the Australian Film Institute’s Sydney cinema. (In Melbourne they had the Longford, named for Raymond Longford.)
Slightly odd experience of seeing ‘Scandal’ here: the poster for it at the entrance showed John Hurt in front of a 1960s image of the neon signs of Piccadilly Circus - and then I turned around and saw the 1989 version of the same view!
It was used as the exterior for a cinema in the 2018 film ‘Ladies in Black’, set in Sydney the late 1950s.
Saw Rollerball here in 1975! Then in 1988-89 worked in the office building that sadly replaced it, ‘Mayfair House’. Early history: http://dictionaryofsydney.org/entry/national_amphitheatre
It’s mentioned in Tom Wolfe’s first book, ‘The Kandy-Kolored Tangerine-Flake Streamline Baby’ (1966), in a piece called ‘Putting Daddy On’. He accompanies a friend named Parker (who seems to be an advertising executive) down to Avenue B to seek out Parker’s son, who has dropped out of Columbia:
“Here is Parker with his uptown clothes and his anointed jowls, walking past the old Avenue B cinema, a great rotting building with lions' heads and shattered lepers' windows…Here is this ripening. forty-six-year-old agency executive walking along amidst the melted store fronts…Everything is collapsing under New York moss, which is a combination of lint and soot.”