Page 16 - RD_2015_12

The new projectors were Philips By 1955, it was Hoyts Paris, the new
‘Norelco’ or EL 4000 dual gauge home of continental films, a policy that
35/70mm models, made by the Philips lapsed after 18 months.
company of Eindhoven, Holland. In Following the long run of Around
Australia this model was known as the The World, which ended on 25
Philips EL 4000, which is the actual November 1959 at the Paris, work
part number for the projector. In started on the conversion to 70mm
Europe it was known as the DP70. In films. This was not as elaborate as that
North America the projector was carried out at the Mayfair although it
marketed as the AAII by Norelco, (the did include identical projection
brand name used by Philips in North equipment.
America). Philips replaced this model United Artist’s Solomon And Sheba
in 1966 with the DP75, a radically was the first 70mm release at the Paris
different machine. Many examples of (10 December 1959.) Unlike South
both models are still operation in Pacific, expectations for a long run
Australia. The high powered arc lamps failed to materialize, and it was
required to illuminate the large screen replaced with Fox’s Can Can after a
were manufactured by Ashcraft in the few months. This extravaganza, with
U.S.A. Water pumps were installed to music by Cole Porter, had a run of 18
cool both the gates in the projector and months. However, the Paris was a long,
the lamphouse. The Ashcraft Super narrow cinema seating about 800, with
Cinex lamphouse consumed an a small and rather cramped screen,
enormous amount of electricity, 160 A Philips Norelco at the Regent compared to the Mayfair. The ever-
amps of current to be precise! These Wollongong, N.S.W. in 2000. (The theatre observant public were less than
were the most powerful arc-lamps in is now closed). Note the digital reader on impressed.
common use and ran very well. the top of the projector. (Author’s photo.)
After adopting a wait-and-see
The Mayfair conversion included attitude, the Greater Union
Most of the Hollywood studios now
enlarging the theatre’s small foyer by Organisation began some theatre
climbed on the bandwagon, which
intruding into the back stalls and conversions to the new medium. In
increased the demand for more
building a false wall. A box office for 1960, G.U. announced that work would
specialised theatres. In 1959 Hoyts
advanced ticket sales was also added in start in Sydney on the Lyric, George
decided to convert a second Sydney
this area. The seating capacity was Street. In Melbourne G.U’s 70mm
theatre to long-run 70mm films.
reduced to 970 patrons. The exterior outlet would be the Majestic in
This was the Paris, Liverpool
was repainted and murals of palm trees Flinders Street, soon to be re-named the
Street, a cinema with a rather
adorned the Castlereagh street facade. Chelsea.
chequered history. Hoyts had leased it
South Pacific opened on 26 The Lyric and the Majestic were
during the 1920s as Hoyts Australia
December 1958 and went on to break two of the oldest cinemas in operation
Picture Palace. After several name and
all records. One claim in the early in their respective cities. The
management changes Hoyts leased it
1960’s was that the Mayfair held a conversion of the Lyric was dramatic.
again in 1951 and renamed it the Park.
world record for a film in one theatre -
three years.
In Melbourne the conversion at the
Esquire was not completed until 1959.
Seating there was reduced from 1,526
to 1,125. The Esquire received the
same projection equipment as the
Mayfair.
South Pacific exceeded all
expectations as a box office performer.
From 1962 onwards, Fox released
35mm versions for the initial releases
in Hoyts suburban theatres and
elsewhere. A general release version
was slightly shorter than the 70mm
‘hard-ticket’ version; no hacking out,
just a little trimming here and there of
the longer set-pieces.
With the success of South Pacific,
Fox announced that henceforth, their
biggest productions would be in Todd-
AO; a decision they held to through the
sixties. Hoyts Paris Sydney, a minor work by Walter Burley Griffin and the second 70mm
cinema in that city. Lost Horizon dates the image as 1973. (Author’s photo.)

16 2005 CINEMARECORD