Photos favorited by barryinperth

  • <p>Graeme McBain recently uploaded this wonderful image to the CINEMAS AND THEATRES OF AUSTRALIA Facebook page. I’ve not previously seen it. It must have been taken not long after the theatre’s opening as all of the original decorative detail is intact.</p>
  • <p>Ambassadors Theatre 625 Hay Street, Perth, WA - Christmas 1962 – Photo acknowledgment Julie Loran</p>
            
              <p>A wonderful atmospheric photo (taken by Julie Loran) set in Hay Street Perth Dec 1962, showing the front of house of “The Hoyts Ambassadors Theatre” with the “The Perth Town hall” in sight further up the street – Christmas is approaching & we see Pat Boone in the CinemaScope production “State Fair” will headline at “The Ambassadors” for the festive season – Contributed by Greg Lynch – Contact – <script type="text/javascript">
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  • <p>Savoy Theatrette 636 Hay Street, Perth, WA – Closed Aug 91 – The Shell</p>
            
              <p>Savoy Theatrette photos courtesy of Dale Grice ©</p>
            
              <p>Message from (Dale Grice) the photographer – There are five photos of the Savoy theatrette in this collection. This one is looking back at the projection ports … there are no seats in the room, it’s pretty much empty … Contributed by Greg Lynch – <script type="text/javascript">
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  • <p>Savoy Theatrette 636 Hay Street, Perth, WA – Photo courtesy of Roy Mudge</p>
            
              <p>Demolition – Another point of view.</p>
            
              <p>Cinema Industry identity Graeme Lacey, a lone figure stands in front of the projection ports of the demolished Savoy theatre. Are we watching the doomsday cinema clock ticking down. In 10 or 15 years will the “Picture Show Man” and the memory of “The Picture Palace” still exist in the collective memory of a generation? – In short “yes” – History is based on written records and the photograph. So write we must & articulate we will – Contributed by Greg Lynch – <script type="text/javascript">
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  • <p>PHOTO – The Plaza Theatre interior, Hay Street Mall, Perth, WA, 1938 – Photo courtesy of Roy Mudge</p>
            
              <p>Hoyts' “Plaza Theatre” opened on 16th September 1937 with a capacity of 1,314. The Plaza exterior presented a stylized skyscraper facade, with classic black & chrome (New York Art Deco Style), Foyer & Stairway decorations. After the closing of “The Ambassadors” “The Plaza” became the Hoyts Flagship in West Australia. August 1965 & “The Plaza” is renamed “The Paris Cinema”. Hoyts ultimately relinquished their lease to the Ace Theatre group, and then with the advent of multi-screen complexes, “The Paris Cinema” was shut down in 1984. During the period the Ace Theatre group ran the theatre, the highest grossing film to that point of operation was “COMIN AT YA” presented in Wide Screen 3D and Dolby Stereo. “COMIN AT YA” was proudly supplied and distributed by this writer – (GLFD – Good Memories of The PLAZA / PARIS – Contributed by Greg Lynch –<script type="text/javascript">
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  • <p>MAGNIFICENCE LOST -</p>
            
              <p>The West Australian Newspaper (Perth, WA) Wed 1 May 1929 - reported</p>
            
              <p>Capitol Theatre William Street, Perth, WA Architects: Christian Frederik Mouritzen, George Temple Poole</p>
            
              <p>Styles:<br>Art Nouveau</p>
            
              <p>Entering the auditorium one is met by an atmosphere of immensity; but it is not a repelling vastness. An all-embracing scheme of comfortable furnishings and adroitly managed adjuncts has been worked out to cover the slightest object. The ceiling is beautifully paneled and decorated in delicate pigments. In the centre, a dome with a span of 40ft. rises 9ft above the ceiling, and from it is suspended a huge hand-cut crystal chandelier, which was imported from Austria. It is 18ft. 6in. long and 7ft. wide, and weighs two tons. Besides interior lighting, it is illuminated, by four 2,000 candle power projection lamps in the ceiling, and is capable of lighting effectively the whole theatre. Coloured lights are operated from inside the cresting of the dome, and coloured cones from perforations at the top of the walls will be directed on the chandelier, producing an attractive effect of lighting the crystal in different colours. Two domes in the ceiling over the back of the dress circle have also been fitted with concealed lights. The walls of the auditorium further the decorative scheme of the ceiling. Along the tops of the walls, Tindale and Miller’s Lime Co. has designed panels of banksia – Contributed by Greg Lynch – <script type="text/javascript">
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  • <p>The Daily News (Perth, WA)  Fri 12 Dec 1930 Page 8  CAPITOL THEATRE BEAUTY</p>
            
              <p>CAPITOL THEATRE BEAUTY
              After an extended closure the Capitol is again about to reveal its majestic, beauty to Perth theatre-goers. The time is therefore not inopportune, to detail some of the many
              arresting features of this artistic example of theatre construction and design, for the Capitol
              theatre is undoubtedly one of the most, modern and beautiful theatres in the Commonwealth. Majestic and spectacular, but not repulsively spectacular, artistic without being overdone, roomy, airy and combining many features which are novel in the architecture of Perth’s theatres. Such as the impressions gained from an inspection of the Capitol. Majestic it is massive, too, but never overpowering. Its tones are subdued, it is
              patterned strikingly, but not obtrusively, it
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  • <p>The Memoirs of an Assistant Projectionist –</p>
            
              <p>If memory permits the year is 1957 and Ken Neck (Hoyts Chief Engineer) sends this writer to The Rialto Theatre Kew, to take up the position of assistant to Bill Kerr (head projectionist). Up to this point I had been on the relief circuit, working at places such as The Lyceum & Athenaeum theatres in Melbourne City, and later at The Padua & Alhambra theatres in Bell Street Brunswick. The TV juggernaut had begun and Hollywood’s Golden Age was over. Broadcast television was free,except for the required Government TV Licence which was introduced in 1957, costing a whopping five pounds per year. For those in the cinema industry television was the enemy, which was to be bad mouthed at every opportunity, as we watched in desperation as attendance’s slipped away.</p>
            
              <p>Despite the slippery slope we found ourselves travelling, there were many great movies screened at “The Rialto” during the 50’s. It was during this period that Hoyts created “The Regency Release” – This referred to movies screened at The Regent Theatre in the city. There would be a delay of, say two weeks into the season, and then selected suburban theatres like “The Rialto” could participate day & date with the city release. Such an occasion was the Warner Brothers movie “Sayanora” starring Marlon Brando & Red Buttons. A Regency release was a most prestigious engagement and one of the weapons Hoyts were using to entice people back to the cinema.</p>
            
              <p>My arrival at “The Rialto” coincided with the installation of a much needed improved exhaust system in the projection booth, along with “Calder Arcs” to replace the previous generation of antique light sources. The theatre was an island, a place where the staff existed in fear of a visit from head-office, or even worse a new theatre manager. Such a person was Vernon Rawlings, fresh from the UK, who arrived with many strange ideas on theatre presentation. Traditionally the news-reel opened the show, but no, Mr Rawlings insisted that we run the news straight after the first feature, then close for interval – this caused a lot of anxiety in the projection booth. Managers came and went at “The Rialto” on a regular basic. One that I had a lot of affection for was Stanley (Hamlet) Henry. He came to us from Hoyts “New Theatre Albury”. An older well preserved gentlemen who had a habit of eloquently quoting Shakespeare at the drop of a hankie. Every week we received a screening list from Hoyts Program Director, Lou Somprou . A beautiful man who’s greatest sin was to book Liberace’s “Sincerely Yours” with Rock Around The Clock. This caused a riot at “The Rialto” as the entire theatre gathered in the foyer during “Sincerely Yours” waiting for “Rock Around The Clock” to start after interval. I was to remind him of this with a smile on my face, many times during his life-time.</p>
            
              <p>As mentioned a visit from head-office was treated with great apprehension. There were two gentlemen who were greatly feared, namely Joe Walker and Alan McDowell. Both theatre supervisors of extreme efficiency. If you looked sideways you were out the door with a boot up the backside. The only reason I survived is that I answered to Ken Neck (The Chief Engineer) This wonderful man saved me a number of times from the wrath of Joe. For those who don’t know Joe Walker was the father of the late Ron Walker, the former Australian Grand Prix boss and co-founder of Melbourne’s Crown Casino. The cleaning lady at “The Rialto” (for the sake of description) over a long period was Mrs Monks, a hard working woman, whose husband was the manager of the famous Collins Street store of Hillier Chocolates, located inside Hoyts Regent Theatre. The Monks went on to purchase and run an old style boarding house in Burnett Street, St Kilda. This writer was their first customer. Bill Kerr the senior projectionist moved on and was replaced by Frank Johnson. Frank was an extremely capable man who was employed by Hoyts in the daytime to strip out doomed theatres, while at night he showed pictures at The Rialto". As the 50’s moved along theatres were closing because of television, almost on a monthly basis. Every week we expected word to arrive of our demise. Frank and myself were an interesting combination, because by this time I was repairing Hoyts Neon signs in the daytime and assisting at The Rialto at night.</p>
            
              <p>Over the years many interesting people passed through The Rialto. Roy Ramsey for one. Roy was a re-leaving projectionist who was elevated to Chief Engineer with Hoyts. Dingy Bell, (the Hoyts carrier) a memorable personality who I had the pleasure of working with on numerous occasions. Dingy was a regular visitor to “The Rialto” delivering cleaning supplies and helping where needed</p>
            
              <p>Channel Nine celebrity, Phillip Brady was a regular picture goer at “The Rialto” One night the theatre staff were agog as Phillip walked in with John Landy, and the Bob Dyer quiz king, Barry Jones. From memory they had come to see “The King & I” in CinemaScope 55, and It kept the staff talking for a week. The Rialto theatre survived till 1961, until the lights went out and the theatre fell dark in High Street. For me “The Rialto Theatre Kew” will always be a special place. A place where a young projectionist met, romanced and wedded the girl in the milk bar opposite. That was 58 years and two daughters past. Ken Neck, always my savior transferred me to The Palace Glenferrie 12 months before the closure, and the next stage of a 65 year career in the entertainment business began.</p>
            
              <p>Projectionists are now a dying breed. Digital projection has now replaced film. This means the projectionist of the past is no longer required. Cinema managers are now trained to operate the equipment and program the hard-drives … Contributed by Greg Lynch – Photo of The Rialto Theatre courtesy of CATHS – <script type="text/javascript">
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  • <p>Architectural rendering of the restored UPTOWN Theatre - November, 2018.</p>
  • <p>Hoyts Theatres Ltd – Greatest Theatre Circuit in The Southern Hemisphere – TRIBUTE – Ernest G. Turnbull, Managing Director of Hoyts Theatres Ltd, also chairman (1953-63) of The Fox Film Corporation (A'sia) Pty Ltd – Ernest G. Turnbull oversaw the dawn of an entire new era in entertainment with “The Robe” & a new wide-screen, stereophonic  process called CinemaScope to the Ambassadors Theatre.</p>
            
              <p>Ina Bertrand wrote – In December 1941, Ernest G. Turnbull succeeded C. E. Munro as managing director of Hoyts Theatres Ltd in which the Fox Film Corporation (A'sia) Pty Ltd held a controlling interest; Turnbull was also chairman (1953-63) of Fox. A period of expansion saw the introduction of wide-screen processes, such as CinemaScope and Cinerama, in which he took a personal interest, and the opening in 1954 of Australia’s first drive-in theatre at Burwood, Melbourne; the period of decline began with the challenge of television. After a brief retirement, Turnbull returned in 1966 as chairman of Hoyts Theatres Ltd and Twentieth Century Fox Film Corporation (Aust) Ltd. A chevalier of the Légion d'honneur for his fund-raising efforts for French widows and orphans of Indo-China (Vietnam), Turnbull was appointed C.B.E. in 1960. He died on 24 July 1974 at Rose Bay, Sydney, and was cremated. His wife, son and daughter survived him – FIN</p>
            
              <p>CINEMASCOPE & 4 TRACK MAGNETIC SOUND – History tells us that the first CinemaScope installation in Perth was at Hoyts Ambassadors, with 20th Century Fox’s “The Robe”, premiering Dec 31, 1953. Hoyts Theatres Ltd, managing director Ernest G. Turnbull made an advance announcement In the “Sunday Times”, 22 Nov 1953, that Hoyts would 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. 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, which at the Ambassadors Theatre will be 39 feel wide and 15 feet high. 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">
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  • <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..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. 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. 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. 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..So here we are in 2018 and Perth’s, Piccadilly Theatre, the much celebrated Art Deco Picture Palace, continues to sit dark in Hay Street..They saved The Regent in Collins St, Melbourne didn’t they ?. What will it take ? – The Piccadilly VistaVision installation details courtesy of Roy Mudge – <script type="text/javascript">
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  • <p>Millie Comes to Perth’s Piccadilly -
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  • <p>Opening night photo courtesy of Roy Mudge – THE WEST AUSTRALIAN NEWSPAPER reported on Thurs March 10, 1938 on Page 19 … THE PICCADILLY THEATRE. Official Opening Tonight. Tonight Perth’s newest cinema, the Piccadilly Theatre, which is situated above the Hay-street end of the Piccadilly Arcade, will be officially opened by the Lieutenant-Governor Sir James Mitchell. The proceeds will go to the Children’s Hospital – Here we see Lieutenant-Governor Sir James Mitchell surrounding by invited dignitaries, speaking to the opening night audience…<script type="text/javascript">
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  • <p>Piccadilly Theatre Perth WA. Usherettes Sophisticated & Chic, from “The Golden Age” of Cinema – Photo courtesy of Roy Mudge - <script type="text/javascript">
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  • <p>Piccadilly Theatre Perth WA – (Photo 1961) “The World of Suzie Wong” front of house promotion, from the Roy Mudge Collection. Greg Lynch says – Suzie Wong was very successful in it’s Australian release, running 17 weeks in Melbourne. It’s importance is reflected in the excellent front of house created by the Piccadilly management – Comment: According to TCM, Suzie Wong was shot in VistaVision, however there is no mention on the OZ Paramount distribution release posters, or published VistaVision production lists. One can only conclude that it wasn’t ? … <script type="text/javascript">
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  • <p>Piccadilly Theatre Perth WA – (Photo 1960) “SPARTACUS” More excellent front of house promotion from the Roy Mudge Collection - : Roy Mudge (A legendary industry identity) who has had a life time association with Perth cinema, tells me that the Piccadilly was not set up for 70mm at the time, and that “Spartacus” was screened in the CinemaScope format. The 70mm version was later screened as a revival at “The Royal” (located further up the street) when that theatre converted to 70mm for the release of “My Fair Lady” in 1965 … Technical details: – Spartacus, directed by Stanley Kubrick was filmed using the 35mm Super 70 Technirama format, and then blown up to 70mm film. This process allowed him to achieve ultra-high definition, and to capture large panoramic scenes which are a stand-out feature of Spartacus - Greg Lynch…<script type="text/javascript">
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  • <p>Greg Lynch says – The management of the “Piccadilly Theatre” launches a major look-a-like competition to promote the release of Paramount’s 1960 production “The World of Suzie Wong”. The photo shows 18 entrants dressed in Suzie Wong Cheongsam’s on the Piccadilly stage, appearing before a packed house of first night patrons. The photo is courtesy of Perth Cinema Identity, Roy Mudge – <script type="text/javascript">
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  • <p>1977 photo via Patrick Crane.</p>
  • <p>Liberty Theatre motive - Greg Lynch says - Here is a unique glass divider found at the top of the stairs (entrance) featuring the original Liberty Theatre motive & Olympic torch. This is a technique known as Glass Etching / Sand blasting.</p>
  • <p>Auditorium as a cinema, with Wurlitzer console.  Photographed by John D. Sharp on 27th November 1967.</p>
  • <p>The photo of Gloria Swanson in the ruins of the Roxy. Said to be the inspiration for the Stepehn Sondheim/Harold Prince musical “Follies”.</p>