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A poorly supervised or lazy
projectionist might open the film trunk,
look to see if the reel was 'start out' and
if so, put it straight on the machine. If
the print had been damaged at the
previous theatre, running it through a
projector again could ruin long sections
of film. Some offenders cut out the
damaged section, re-joined the film and
hoped that it wouldn't be noticed. Ruby Palmer at Paramount.
Sometimes it was hard to trace the
culprit.
In the 1950s, when some suburban Paramount Pictures was the
screens went first release with the city, biggest name in the business until
print juggling became more demanding. challenged by MGM in the mid-
Sometimes a request for more than 12 twenties. From 1916 until 1921
prints would be granted, but the case Paramount was releasing -at least in
for doing so had to be really good. For the USA - two, sometimes three
the ‘saturation releases’ so popular features a week, every week of the
today, some 300 to 400 prints are year. Paramount's early influence in
struck, most of them by Atlab in Australia showed in the number of
Sydney, from an imported dupe theatres which took the name, and
negative. Supplementary prints may the size of newspaper publicity for
also be flown in from the U.S.A. where Paramount Week, in which the
as many as 1,000 prints service the exchange trumpeted their current and
opening of a new film. When the rush forthcoming titles.
is over in the States, some are gathered Paramount's first exchange in
up and dispatched. Atlab gives them a Melbourne operated from an
Strand s Star s
clean before they go into service. insignificant building at 206 Bourke
Policies on storage and re-issues Street, located between the Star and The first Paramount exchange in
varied between exchanges. RKO was the Strand cinemas, in the heart of Melbourne (1915) was flanked by the
the most ruthless; only interested in theatre-land. The building can be Strand and the Star cinemas.
new product. As soon as a contract was seen, squeezed between the two
played out, the prints were junked. theatres, in the photo above, right. An
Exceptions included Gunga Din and A glimpse into life at the Urgent Telegram
The Informer, but a re-issue used the Paramount exchange comes from a PARAMOUNT ---------
best of the initial 12 prints. When reference for Ms. Ruby Palmer, who --------- PICTURES
MGM cut its production slate in the worked there as a book-keeper. Ruby HAS SCOOPED THE EXCLUSIVE
RIGHTS OF THE
late forties, they introduced the ‘MGM married, became Mrs. Willans, and
Masterpiece Reprint’ series. For these stayed on at Paramount after her Melbourne Cup
Picture
revivals MGM struck four new prints in husband enlisted to fight in World
Australia, released them in-house, and War 1. On his return the Willans DEVELOPMENT OF STORY OF RACE
FROM
then offered them to anyone else. moved to Cudgewa in north-east START TO FINISH
MGM’s was the only exchange to Victoria, to take up farming on a 10 CAMERAS
consistently supply new prints for soldier- settler block.*
revivals. H This snippet of personal history is CLOSEUPS OF
About the Author a tribute to all those who labour CUP DRESSES
DIGNITARIES
behind the scenes in glamour
William Gray has worked in the HORSES
industries, and who remain unknown
film industry for most of his life. He CROWDS
to the public.
began in despatch at 20th Century Fox, EXHIBITORS
*Ruby’s daughter Mrs. Joan
then moved to a similar role at Are offered this
Zernihe supplied this information to
Universal Pictures, British Empire WONDERFUL PRODUCTION
CATHS member Kevin Walters. Mrs Also a
Films and Independent Film
Zernihe was born at Cudgewa and GREAT
Distributors, all in Sydney. Bill was
now lives in Toowoomba, OPPORTUNITY
projectionist at the Dundas drive-in FOR A CLEANUP
Queensland. H
(NSW) for 23 years before becoming
Film Librarian for AUSTRALIAN FEATURE FILMS
Cinesound/Movietone. He rounded out LTD
208 BOURKE ST.
his career as one of the projection crew
THE HOME OF
at G.U’s Pitt Street Cinemas (Sydney). Paramount Pictures
The Herald Saturday 3 Nov. 1917.
26 2005 CINEMARECORD