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something special, Fox imported extra prints Not all ran smoothly with the opening days
which turned out to be unnecessary in the end. of CinemaScope at the Regent and the Plaza.
Projectionists were finding difficulties with
It was in 1953 that Fox made the the focus, and could not rectify the problem.
announcement it was working on a new mode A lucky break occurred when they found that
of film production named CinemaScope. The after the prints had been run several times, an
first film to be introduced in the new system improvement became apparent. It may have
would be The Robe, produced by Frank Ross, been the magnetic tracks at fault. In any case,
who originally intended to produce it at RKO the pressure was on Fox to find a solution. It
Studios years earlier. The film would also be was decided that all prints should be “run in”
produced in standard mode, in case the new at least six times, so Hoyts insisted that Fox
system failed. The Fox publicity machine attend to this problem.
immediately started to hail a new era of film
production. As each print arrived, it was taken to the
theatrette. When the theatrette was not used
When the first copy of The Robe arrived in for preview screenings, the projectionist had
Sydney, it was quickly taken into custody by to continually screen each print until it had
Head Office. Sydney Dispatch did not sight been run at least six times. To cope with the
any prints until later. The new anamorphic volume of work, both projectors were run at
lenses associated with the system were also the same time with arc lamps lit and the
received.
dowser open. With so many prints coming in,
it became necessary for the projectionist to
The Head Offices of both Fox and Hoyts
Reels of 35 mm film in individual cans arranged viewings by both the censors and the work on occasions at night in order to cope.
executives. It was not until later that further
It was not until local laboratories were prints of The Robe arrived, on spools and Fox also had connections with Deluxe labs in
equipped to make prints in color that there was packed in cartons. The prints had magnetic the USA, where many early CinemaScope
prints were processed. It was discovered in
any change. sound tracks, the new four track stereo sound
system. There was concern that the new tracks Australia that some prints had inferior color.
When the prints were shipped from NSW to might be damaged by contact with metal This was a major concern as a whole feature
could be entirely yellow throughout, another
Victoria, the examiners would remove them objects such as spools or even the scissors of
from their spools, replace the leaders and tails, the film examiners. However, word was all red. The same problem occurred in various
and rewrite the reel numbers. When they were received that this was of no concern. ways, often only a single spool being affected.
eventually returned to Sydney, the film This was something that had to be corrected.
examiners would again run them onto spools The Robe was released at Sydney’s Regent in Dispatch was instructed that these prints were
and return them to their trunks. As far as I was December 1953. Shortly after, a second not to be sent to any Hoyts theatre. The
able to learn, none of the other companies did CinemaScope film, How to Marry a dispatch sheets would be marked with those
this. They shipped interstate, trunks and all. Millionaire premiered at Sydney’s Plaza. theatres that were nominated by the Booking
When I made the suggestion that we should do Department.
the same, it was refused. CinemaScope prints with the new magnetic
sound tracks were received from the USA on Despite all the “running in” of prints that was
Working for all the film companies had its 2000 ft reels in suitable cartons. Thankfully, occurring, for some unknown reason from the
rewards, one of which was the regular we were able to ship them in the same manner. time the theatrette was converted to
opportunity to view the latest releases in the This did away with the practice of sending CinemaScope, there were no more staff
theatrette before release. prints interstate on single reels. screenings; no reason was given.

th
One of the big events of 1952 was when Fox Some months later, when it became obvious Working at 20 Century Fox was a good
made the film Kangaroo in Australia. Fox went to Fox that they could not persuade all theatre experience; we all worked well together.
overboard with this film, saturating the press owners to convert to the use of magnetic However there was a dividing line throughout
and magazines with publicity. When the prints sound, they were forced to supply optical the building, splitting the personnel. The
arrived, we received the bonus of attending a sound prints. The general operations in film Company worked in two divisions: Head
screening in the theatrette. Thinking they had handling and dispatch then returned to normal. Office and Sydney Office. Head Office
Boxes of films newly arrived from the film lab applied to those working on the top floor –
Executives, Publicity, Accounts, etc. Sydney
Office covered bookings, accessories,
dispatch, cashier, etc. There was very little
contact with one another. Only occasionally
did someone from Head Office, whilst
passing through Dispatch, greet anyone or
would only respond off-handedly. I think
pressure from the USA may have caused that
situation.
Who would face up to that man with the huge
cigar, who could say “shape up or ship out!”
I left Fox at the end of 1956. «

Credits:
All images: William Gray Collection.

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