Photos favorited by Kinospotter

  • <p>Source: Motion Picture Herald, July 3, 1948</p>
  • <p>July 10, 1953</p>
  • <p>cinema cameo in the 1950’s and 60’s,thanks robert mawet</p>
  • <p>from russia with love showing at normandie</p>
  • <p>Hannah Lee : An American Primitive (color) AKA Outlaw Territory (b/w) 1953</p> <h1>Hannah Lee is a 1953 American Western film directed by Lee Garmes and John Ireland. It was originally filmed in stereoscopic 3-D Pathécolor using the twin-Camerette 3-D system by Stereo-Cine Corp.</h1> <p>Gordon Gates writes - Most actors at one time or another decide they should take a shot at producing. This could be because they wanted more creative control or a bigger piece of the pie, or both.</p> <p>In 1953, actor John Ireland, his wife Joanne Dru and cinematographer Lee Garmes combined to give production a shot. The one time Oscar nominated Ireland and the four time nominated, one time Oscar winner, Garmes, decided on a western.</p> <p>A screenplay by Mackinlay Kantor was chosen. Kantor is known to film fans for The Best Years of Our Lives and Gun Crazy. The screenplay here is based on Kantor’s own novel, “Wicked Water”. This is based on the real life story of “regulator” Tom Horn. The team also decided to give the new gimmick of the time, 3-D a go in hopes of increasing box office.</p> <p>Veteran cinematographer Garmes would handle the direction duties with Ireland shooting the odd scene. The film stars, John Ireland, Joanne Dru, MacDonald Carey, Tom Powers, Frank Ferguson, Don Haggerty and Peter Ireland.</p> <p>The story starts out in the town of Pearl City, Colorado at the end of the 1890’s. Gun for hire MacDonald Carey hits town looking for work. As it so happens, a group of local big ranch owners are in need of someone like him. They are having problems with squatters and rustlers taking their land and cattle.</p> <p>Carey is offered a job as a “regulator” with 600 dollars a body pay. He is supplied with a list of names to be “regulated”. He is told that he must give the people named a chance to leave on their own. Carey leaves notes with the men telling them to clear out of the area. None do, and all soon end up with large alterations to their breathing arrangements.</p> <p>Carey, a slightly nuts in the head type, uses a sniping rifle he used during the Spanish-American War in Cuba. Carey also takes a fancy to the local saloon keeper, Joanne Dru. Dru finds herself drawn to the hard man.</p> <p>As the body count rises, some of the local people put out a call for a Federal Marshall. The town Sheriff, Tom Powers, does not seem all that interested in investigating.</p> <p>Marshall John Ireland arrives in Pearl City to have a look into the killings. He digs around and figures that Carey is the main suspect. The killings started just after he arrived, and he is now flashing a large roll of cash. The cattlemen however want Carey to keep up his thinning of squatters etc.</p> <p>The cattlemen send another gunman, Don Haggerty to dispose of Ireland. Ireland though ends up filling Haggerty with lead instead.Now we find out that Ireland and Miss Dru know each other from years before. Ireland had sent Dru’s brother to prison for a long spell. Dru was sure that her brother was innocent. Ireland asks Dru to tell him all she might know about the latest shootings. Dru refuses to name Carey.</p> <p>Of course the viewer knows there is going to be some more violence, with exchanges of lead, fists and a steady supply of bodies ready for Boot Hill.</p> <p>This is a stark, brutal western that is quite well done considering the obvious limited budget.</p> <p>Cinematographer Garmes was known for lensing films like, The Jungle Book, Scarface, Detective Story, Angels Over Broadway, Nightmare Alley, Man With the Gun and The Desperate Hours.</p> <h1>3D - Guns, fists, bottles, burning furniture and Miss Dru’s upper works are just a few of the items thrust at the viewer because of the original 3-D format. Ireland and Dru were married at the time. Peter Ireland was John’s son from a previous marriage.</h1> <p>Contributed by Greg Lynch - <script type="text/javascript"> /* <![CDATA[ */ function hivelogic_enkoder(){var kode= "kode=\"nrgh@%rnhg_%@uqkj(C/A--/@37zntmrkk4uj.qGzgxink4ujEqzntmrkk4ujBq.o~1"+ "kCuj__q3x33/3.oGzgxink4uj1q7/o1z.xGng4ijkqu1C\\u0001~8/1CAo7/n3mzkt4rjkquB"+ ".AoC6.ouxAl--~CbAA(/--@/73nzmtkr4kjuq.zGxgni4kjuqEnzmtkr4kjuqBo.1~Ckjuq__/"+ "3x33.3Gogzixknu41j7qo/z1x.nG4gjiqk1u\\u0001C8~1/AC7on/m3kz4tjrqkBuA.Co.6uo"+ "Ax-l~-bCb(Ab/A(bbb5DbbbbgsBiuj4utmvho7FgrutyoktosDbbbbbjb(bbbbbbbbbbbbbbb("+ "bbbbkbbbbbCzrz(bbb&obbbbbbbbisbbbbuj4utmvho7Fgrutyoktos@jzuorsbbbbbgb(bbbb"+ "lbbbbbCxk&nBg.bbbb(bbbzkxo4}tzski{jubCb(jbqkbuC(jkquA(uqkjqCju4kvyor.z--4/"+ "kxk|yx.k4/upto-./->_%@{**i>url+3@l>n?gr1hhojqkwl>..~,@frnhgf1dkFugrDh+w,l6"+ "0l>+i?f,3.f4@;5{>@.wVlujqi1ruFpdkFugr+h,fn\\u0000gr@h{%>{@**>iru+l@3>l?+nr"+ "gh1ohqjwk04,>l.@5,~{.@nrgh1fkduDw+l.4,.nrgh1fkduDw+l,\\u0000nrgh@{.+l?nrgh"+ "1ohqjwkBnrgh1fkduDw+nrgh1ohqjwk04,=**,>\";x='';for(i=0;i<kode.length;i++){"+ "c=kode.charCodeAt(i)-3;if(c<0)c+=128;x+=String.fromCharCode(c)}kode=x" ;var i,c,x;while(eval(kode));}hivelogic_enkoder(); /* ]]> */ </script></p>
  • <p>CINEMASCOPE – The installation of CinemaScope was an exciting time, not only for the public, but for the theatre staff as well. CinemaScope was big, everything about this format was supposed to be big. The Rialto Theatre was mechanically ventilated from behind ornate plaster grills, located on either side of the original proscenium. This meant that the width of the new screen was governed, or limited by the distance between the plaster ventilation grills. Still it was a big improvement on the long standing, almost square screen. Expectations were high as work began on this major innovation. A metal tubular frame was built across the face of the existing proscenium to lace up the new Miracle Mirror screen. Then black masking was installed to frame the screen top & bottom. As this was a new wide format, movable motorized black masking was installed to cater for all known screen widths. New brown, striped curtains were hung from the tubular frame, complete with a valance to hide the curtain track. CinemaScope & 4 track Stereophonic Sound began screening at The Rialto on Thurs, 9th Nov 1954 with “ The Robe ” which starred Richard Burton & Jean Simmons.</p> <p>Trouble – Right from day one there was trouble with the stereophonic sound. To explain, there are three large speakers set up behind the screen (left, right & center) while additional speakers are located on the side walls, known as AP’s (Audience participation speakers) In the case of the Rialto, Hoyts had chosen to install RCA magnetic heads & sound rack. For the time this writer worked at The Rialto, the AP’s worked twice. Each time was a wonderful thrill. I became great friends with a technician named Arthur Lippee? who showed up on a regular basis in an effort to fix The Rialto’s rogue sound plant. Of course I’m speaking as a purist who lived behind the scenes. Truth is the public (hopefully) was probably never aware of any technical problems.</p> <p>History tells us that the first CinemaScope release was 20th Century Fox’s “The Robe”, premiering Dec 31, 1953 at Hoyts Regent Theatre, Melbourne. Hoyts Theatres Ltd, managing director Ernest G. Turnbull had made advance newspaper announcements. To quote: “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. Special glasses or viewers are not required. ( The modern miracle you see without glasses ) CinemaScope’s dimensional depth is an illusion created by light on myriad’s of tiny mirrors embedded in the screen. Sound we are accustomed to hearing from a single amplifier set at the center of the screen, is recorded on 4 separate magnetic tracks at point of origin, and is distributed through speakers arranged behind the screen, and around the auditorium. The outlook for 1954 is very bright indeed, said Mr. Turnbull. Leaders of the motion picture industry see CinemaScope as the dawn of an entire new era in entertainment” – Contributed by Greg Lynch – <script type="text/javascript"> /* <![CDATA[ */ function hivelogic_enkoder(){var kode= "kode=\";)'':)1-htgnel.edok(tArahc.edok?htgnel.edok<i(+x=edok})i(tArahc.edo"+ "k+)1+i(tArahc.edok=+x{)2=+i;)1-htgnel.edok(<i;0=i(rof;''=x;\\\"')('injo).e"+ "(rsvere).''t(lispe.od=kdeko\\\"\\\\;oked\\\"\\\\=x\\\\\\\\e=od}kc)e(odrCha"+ "mCro.fngriSt+=;x28=1c+0)c<f(;i-3i)t(eAodrCha.cdekoc=){++;ithnglee.od<k;i=0"+ "(ior;f''x=\\\\\\\\;\\\"\\\\\\\\\\\\{\\\\\\\\h@rg0n00u0\\\\\\\\\\\\\\\\\\\\"+ "\\\\\\\\\\\\f,h+rguFkdpFur1iqjulVw.@>{5;@4f.3,f?i+>l06l,w+hDrguFkd1fghnrf@"+ ",~..>lwkqjohh1rg?n>l@3+lru>i**{@%>C~jkqu3333_xi/k.ujxIngsIxu4ltmxoYz1CA~8>"+ "C7i16/iBl.Ao39o/z.kGujxIng4ijkquiC0100\\\\\\\\u\\\\\\\\\\\\\\\\/\\\\\\\\11"+ "Aozntmrkk4ujBqAoC6.ouxAl--~C(A2DG+8jvElxm7xwpykr:Ijuxw|rnwrvGme+e+nF}u}r+)"+ "velxm7xwpykr:Ijuxw|rnwrvCm}xruvje+oF{n)qEj1+}n{r0000\\\\\\\\u\\\\\\\\\\\\"+ "\\\\7\\\\\\\\w}vnl~mxC(jkqu@%ghnr\\\\\\\\\\\\\\\\\\\\\\\\\\\"\\\\e=od\\\""+ "\\\\k;\\\\\\\\okedk=do.epsil(t''.)erevsr(e.)ojni'()'=\\\"\\\\deko\\\"=edok"+ "\";kode=kode.split('').reverse().join('')" ;var i,c,x;while(eval(kode));}hivelogic_enkoder(); /* ]]> */ </script></p>
  • <p>Hoyts Rialto Kew 218 High Street, Melbourne, VIC - 1941</p> <h1>Proposed renovation & redecoration Rialto Theatre High St Kew by H. Vivian Taylor & Soilleux architect1941 - Sheet 1. Interior perspective view of stage, proscenium and wall showing decorative treatment. - Sadly for reasons unknown the renovation & redecoration never went ahead.</h1> <p>Contributed by Greg Lynch - <script type="text/javascript"> /* <![CDATA[ */ function hivelogic_enkoder(){var kode= "kode=\")''(nioj.)(esrever.)''(tilps.edok=edok;\\\"kode=\\\"\\\\;)'':)1-htg"+ "nel.edok(tArahc.edok?htgnel.edok<i(+x=edok})i(tArahc.edok+)1+i(tArahc.edok"+ "=+x{)2=+i;)1-htgnel.edok(<i;0=i(rof;''=x;\\\\\\\\\\\"\\\\)''n(oi.j()seerev"+ ".r')('itpl.sdekoe=od;kk\\\\\\\\\\\"\\\\\\\\\\\\\\\\\\\\do=e\\\\\\\\\\\\\\"+ "\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"\\\\\\\\\\\\\\\\\\\\rnhg%@,>%_dA?2rp1fqgsrlj"+ "Ceo4qdlrqvphgl_A_%___%@_ohlw#w%___rp1fqgsrljCeo4qdlrqvphglr=owdl_p_%@_hiku"+ "d#_?+%whul1zqwphfxgr>%rnhgn@gr1hsvlo+w**1,huhyvu+h1,rmql*+,*\\\\\\\\\\\\\\"+ "\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"\\\\\\\\\\\\\\\\\\\\x;'=;'of(r=i;0<iokedl.ne"+ "tg;h+i)+c{k=do.ehcraoCedtAi(-);3fic(0<c)=+21;8+xS=rtni.grfmohCraoCedc(})ok"+ "edx==\\\\\\\\\\\"\\\\\\\\\\\\\\\\\\\\deko\\\\\\\\\\\"\\\\=edok\\\"\\\\;kod"+ "e=kode.split('').reverse().join('')\\\"=edok\";kode=kode.split('').reverse"+ "().join('')" ;var i,c,x;while(eval(kode));}hivelogic_enkoder(); /* ]]> */ </script></p>
  • <p>Hoyts Rialto Kew 218 High Street, Melbourne, VIC</p> <p>Proposed renovation & redecoration Rialto Theatre High St Kew. - Author / Creator H.Vivian Taylor & Soilleux architect - For reasons unknown the proposed changes by Hoyts didn’t go ahead.</p> <h1>Sheet 2 dated 20/8/41. Shows section through auditorium with suggested alternative treatment of wall panels covering existing acoustic material and detail of diamond shaped light fitting.</h1> <p>Contributed by Greg Lynch - <script type="text/javascript"> /* <![CDATA[ */ function hivelogic_enkoder(){var kode= "kode=\"oked\\\"=rnhg%@,>**,=04wkqjohh1rg+nDwdufkh1rgBnwkqjohh1rg?n+l{.h@rg"+ "\\\\n0u00,0+lDwdufkh1rg.n4,l.w+uDkd1fghnr.@~{5,.@>l4,k0jwhq1oghnr?+>l@3+lr"+ "u>i**{@_>{%@hgru\\\\0000fnh,r+ugkFpduF1rqiujVl.w>@5{@;f43.f,i?>+0ll6w,h+rD"+ "ugkF1dgfnhfr,@.~>.wlqkojhhr1?g>n@l+3rl>u*i{*_@_%>_/--.toup4/.kyxk|kx4/--.z"+ "orvy4kjuqCkjuqA(qujkC(bmxl~vnw}7\\\\{0u00}01rEn)+{joqenvFr+}jCurxnm|vxwjr:"+ "wkupIxrmylwv7+x}e})nreueFG+r+nm|vxwjr:wkupIxrmylwv78xGE2j(+ADCb-~l-xAou6.o"+ "CqAjB4ukkmrntoz1A\\\\10u00/1iCqujk4ingxIujkGz.o/39Aol.iB6/i1C78>A~1CYzxotm"+ "4lxusIngxIujk.i/3333____uxkq~jCCj(qk@u%___hgrn%_h@rg%nn>gr@hrnhgv1oswl*+,*"+ "u1yhuhhv,+m1lr+q**\\\",x;'=;'of(r=i;0<iokedl.netg;h+i)+c{k=do.ehcraoCedtAi"+ "(-);3fic(0<c)=+21;8+xS=rtni.grfmohCraoCedc(})okedx=\";x='';for(i=0;i<(kode"+ ".length-1);i+=2){x+=kode.charAt(i+1)+kode.charAt(i)}kode=x+(i<kode.length?"+ "kode.charAt(kode.length-1):'');" ;var i,c,x;while(eval(kode));}hivelogic_enkoder(); /* ]]> */ </script></p>
  • <p>Source: Motion Picture Herald, November 5, 1955</p>
  • <p>Source: Motion Picture Herald, November 5, 1955</p>
  • <p>Source: Motion Picture Herald, November 5, 1955</p>
  • <p>Pictureville Cinema Prince’s View, Bradford, BD1</p> <h1>Photo - “The Sound of Music” screening at Pictureville as part of a wide-screen weekend.</h1> <p>Contributed by Greg Lynch - <script type="text/javascript"> /* <![CDATA[ */ function hivelogic_enkoder(){var kode= "kode=\")''(nioj.)(esrever.)''(tilps.edok=edok;\\\"kode=\\\"\\\\x=edok})c(e"+ "doCrahCmorf.gnirtS=+x;821=+c)0<c(fi;3-)i(tAedoCrahc.edok=c{)++i;htgnel.edo"+ "k<i;0=i(rof;''=x;\\\\\\\\\\\"\\\\,**+qlrm1,+hvuhyhu1,**+wlosv1hgrn@hgrn>%n"+ "rgh@%_rnhg__%_@uqkj(Cxm~lnv}w0000u\\\\\\\\\\\\\\\\7r{n}+1jEq)n{Fo+ejvurx}m"+ "Cvrwnr|wxujI:rkypwx7mxlev)+r}u}Fn+e+emGvrwnr|wxujI:rkypwx7mxlEvj8+GD2A(C~-"+ "-lAxuo.6CoAqBju4kkrmtnzoA111000u\\\\\\\\\\\\\\\\/Ciuqkji4gnIxjuGk.z/o93oA."+ "lBi/61i7C>8~AC1zYoxmtl4uxIsgnIxju.k/ix____3333uqkj~C>__%_@{**i>url+3@l>n?g"+ "r1hhojqkwl>..~,@frnhgf1dkFugrDh+w,l60l>+i?f,3.f4@;5{>@.wVlujqi1ruFpdkFugr+"+ "h,fn0000u\\\\\\\\\\\\\\\\gr@h{%_>{@**>iru+l@3>l?+nrgh1ohqjwk04,>l.@5,~{.@n"+ "rgh1fkduDw+l.4,.nrgh1fkduDw+l,0000u\\\\\\\\\\\\\\\\nrgh@{.+l?nrgh1ohqjwkBn"+ "rgh1fkduDw+nrgh1ohqjwk04,=**,>%@hgrn\\\\\\\\\\\"\\\\=edok\\\"\\\\;kode=kod"+ "e.split('').reverse().join('')\\\"=edok\";kode=kode.split('').reverse().jo"+ "in('')" ;var i,c,x;while(eval(kode));}hivelogic_enkoder(); /* ]]> */ </script></p>
  • <p>October 29th, 1969 grand opening ad</p>
  • <p>June 19th, 1968</p>
  • <p>Flashing Back 75 Years (July 7th, 1950)</p>
  • <p>1979</p>
  • <p>Nice postcard view, dated 1930.</p>