Archive for The Sea Hawk

Phantom Electric Theatres of Edinburgh # 2

Posted in FILM with tags , , , , , , , , , , , , , , , , , on July 15, 2013 by dcairns

For this exploration of vanished cinema sites, empty shells and transmogrified theatres, we started by getting the bus to South Clerk Street, where alas the first movie house on our itinerary, The Salisbury, is long demolished, with modern apartments slapped on top. Here’s a still from the excellent Scottish Cinemas site, showing the auditorium as demolition got underway ~

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The Salisbury opened in 1925 with the silent THE SEA HAWK, but was damaged by fires in 1939 and 1943 after which it was used as a store.

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A short distance down Clerk Street is the cinema of my childhood. I knew it as The Odeon, and its auditorium (originally one screen with upper stalls, later partitioned into three) was let by constellations of stars in the ceiling. When those lights finally dimmed after the ads, for the main show, the feeling was magical.

Films seen: the original KING KONG — and the De Laurentiis remake — STAR WARS — Godzilla and James Bond double bills — and the LAWRENCE OF ARABIA restoration. Probably this was where I was taken to see my first movie, DR DOLITTLE on rerelease, and started to cry because nobody had warned me it would be dark.

That’s me, above, standing in line.

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Found this online — the cinema is showing NUNS ON THE RUN, which I *saw* there, I’m embarrassed to say. As a fan of some of Handmade Films’ output, I wanted to give it a chance. A mistake. But one which raises the possibility that I might be IN that photo. The figure bottom right — is that me? I don’t think so — but I did own a grey coat like that…

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Here’s the cinema when it opened, as The New Victoria. It’s showing GLORIFYNG THE SHOWGIRL, a movie which doesn’t exist on the IMDb — I’m thinking it’s GLORIFYING THE AMERICAN GIRL (1929), retitled for the UK. But the very first movie screened here was ROOKERY NOOK, an “Aldwych farce” — basically a photographed play, the British film industry’s first response to talking pictures.

The cinema closed in 2003 — among the films showing was TOMB RAIDER, which is appropriate when we come to this gallery of images taken by an urban explorer within the deserted kino-mausoleum.

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Cinema 8

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No, I didn’t take those pictures. I would soil myself with terror in a place like that.

But we have barely begun! Moving down onto Clerk Street, we come to the Festival Theatre, used for live productions but also venue for the opening and closing galas of Edinburgh International Film Festival. Before it was constructed, there was the Empire Palace Theatre, site of Edinburgh’s first ever cinematograph showing. Here’s the programme screened ~

Dinner Hour at The Factory
Children Playing
A Landing Stage
Arrival of The Paris Express
A Practical Joke on The Gardner
Trewey’s Hat
Champs Elysee, Paris
The Fall of The Wall
Bathing in The Mediterranean

The Empire burned down in 1911, in a fire which killed stage magician the Great Lafayette.

Across the road stands a Bingo Hall, originally known as La Scala — a real fleapit in its day. In my day it was The Classic, and it showed naughty films. I was too young to go, but I can remember giggling at the marquee — CONFESSIONS OF A LESBOS HONEY was shown, as was THE CLONES OF BRUCE LEE. The only defining trait uniting the varied programme seemed to be that everything shown had to be crap. The only movie I ever saw listed there that had been reviewed on TV was Tinto Brass’s THE KEY with sugar daddy Frank Finlay.

So I never got to see inside — which makes this image all the more enticing!

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You can just feel that sticky carpet, can’t you? Just keep telling yourself, “It’s only Kia Ora.”

Nicholson Square, former home of Burke & Hare’s patron, Dr Knox, later housed a picture house, The Lyric, later the The Silver Kinema House, which opened in 1913 (an annus mirabilis when countless theatres threw open their doors for the first time), showing THE RIVAL AIRMEN and THE NIAGARA FALLS. It also ran, at that time, Edison’s kinetophone — talking pictures! A year later it was re-named THE LYRIC, which nobody could pronounce. Ironically, the advent of true talkies killed The Lyric, and it closed in 1931 with MARRIED IN HASTE and THE HELLCAT.

Now all that’s left is a bank, supposedly utilising some of the lobby space, and a vacant lot, utilising the rest.

The Lumiere, attached to the National Museum of Scotland, was a lecture theatre awkwardly adapted to serve as a cinema — the wide centre aisle meant that the exact spot you would sit for the best view was occupied by steps, and the seats were steeply raked as if the show were going to be an anatomy lesson. But the programming was great, during the three and a half years it was open (1998-2002) — I saw PLAYTIME for the first time here.

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This little shed, appended to a church, seems to be The Waverley, Infirmary Street. It was known in its day (pre-WWI) as a “penny scratcher,” a literal fleapit, where kids could buy entry upon presentation of an empty jelly jar. Classy. Sometimes, your ticket came with a free orange, in those distant pre-Kia Ora days. Happy young patrons could suck their orange while scratching themselves, making for a truly immersive and interactive experience. A Charlie Chaplin short viewed under such conditions would be the HOBBIT of its day.

The Cinema House stood for a long time, an incongruous low building next to the imposing Grecian frontage of the Surgeon’s Hall. Opened in 1903, it used to provide a fee cup of tea with every ticket, and was the first Edinburgh cinema to provide “continuous” programmes from 2.30 to 10pm. Hard work for the poor pianist! The Cinema House closed as a cinema in 1930 (with Mildred Harris in SEA FURY, supported by THE LOVE OF THE ATLANTIC), was used by the Salvation Army, then fell into dereliction — finally it was knocked down in 2004.

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The Roxburgh doesn’t look much like a cinema today, but it opened as such in 1919 with THE SILVER KING starring Barbara Castleton. As the cinema did not advertise regularly, Thomas is unable to provide a closure date, but reckons it did not survive the coming of talkies. The triangular top to the facade is the only hint of the Roxburgh’s theatrical origins.

Ignominy! The Tron Cinema (no relation to the Disney movie) is now a bar/restaurant. As a cinema, it opened in 1914 with screenings of A VISION OF THE WORLD and FROM SKY BLUE TO PURPLE DEEP, neither of which merits an IMDb entry. “Take the tram to the Tron!” was the cry. Talkies killed the Tron, it seems.

We nipped along Chamber Street, once home of the Operetta House, now totally demolished. Originally a theatre, then a music hall, it began showing film subjects in the early twentieth century, with titles such as THE DIAMOND THIEVES and HOW THE POOR CLOWN’S PRAYER WAS ANSWERED. This theatre did make it into talkies, but seems to have closed in 1939.

On Forrest Road, the first address I lived at after leaving home, there is a building called Oddfellows Hall, which apparently screened movies at one time — things of a religious nature designed to improve. No more of that.

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The New Palace on the High Street opened in 1929 with HER NEW CHAUFFEUR, a talkie. It wasn’t one of my Dad’s regular haunts, but he does recall being taken there to see SHE WORE A YELLOW RIBBON when he was ten. You can still see the stone-carved letters declaring “PICTURES”. But the narrowness of the building prevented modernisation, and the introduction of Todd-AO reduced seating from 1050 to 950.

The doors closed in 1959 with CAPTAIN KIDD, SMART BOYS and EAST SIDE KIDS. Thomas quotes Bernard McGowan’s account of the last picture show: “youthful audiences tried singing ‘Auld Lang Syne’, the usherette cried ‘Stop that racket! You’re barred the lot of you. You’ll no’ get in next week!'”

The Star on St Mary’s Street is a great old building, but totally unrecognizable as a former cinema. It opened in 1914 and closed in the twenties. It was known locally as “The Starry,” but nothing else is recorded about it.

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Still not quite exhausted, we trudged down to the Calton Studios, still open as a music venue. Once this was a base for the Edinburgh Film Festival, after having been a TV studio. It opened in 1977 with THE FRONT, under the management of Bill Landale and Steve Clark-Hall (now a successful film producer) but phased out cinema operations as the Filmhouse took over as Edinburgh’s main art cinema.

The building has great cyborg sculptures sticking out of it, which we admired.

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And that was enough for one day. Nodding in the direction of the Regent, Abbeymount, of which no trace remains, we headed home. Last films screened at The Regent: CARRY ON AGAIN DOCTOR and THE TRAP, with Oliver Reed and Rita Tushingham.

The Mummy’s Curse

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on December 14, 2008 by dcairns

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“Bloomin’ Ada!” as my Mum would say. I have been tagged with a meme, using the parlance of our times. Next thing you know I’ll be participating in flash mobs and Anne Summers parties and other symptoms of this age we live in. I have been tagged by the Self-Styled Siren, who runs my favourite blog on classical Hollywood cinema (and occasional other subjects too) so I guess that means I have to comply. The meme (I’m not explaining that one: go pound on Professor Richard Dawkins’s door) requires me to list twenty actresses, and originated here. The idea is that they should be your twenty favourites — the Siren wisely narrowed that to twenty actresses whose mere presence in a film would be enough to make her watch it, and she’s hinted that she expects “classic choices”, so I’m guessing that tends to eliminate Little Nell, Daisy and Violet Hilton, Buck Angel or even Maria Montez. As well as this woman.

But I still feel  the need to whittle further, both to avoid repeating the Siren’s excellent list (I’ve just started on the THIN MAN films, and Myrna Loy is much on my mind), and to impart a unique something-or-other to the proceedings. I note that most of the actresses being selected are extremely beautiful, and since if I were to choose twenty actors, they might include numerous fellows I don’t actually admire physically, I thought it would be interesting to choose twenty actresses who… how shall I put this? Must find a classy and gentlemanly way of saying it.

Twenty actresses whom I would always be glad to see in a film, although I have no real desire to “do” them.

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1) Margaret Rutherford. I’m appalled to realise that I’ve had THE BEST DAYS OF YOUR LIFE for over a month now without watching it, and after spending ages trying to source a copy. Rutherford, who George Harrison, back in his Beatles heyday, would choose if challenged to name a favourite actress, had a face rather like a very old man’s neck, but was both a dexterous eccentric comedian and a powerful tragedian, as witness her speech at the end of Orson Welles’s CHIMES AT MIDNIGHT. She exemplifies what I’m talking about here, since sexuality didn’t really play much of a role in her art or life: apparently she and her husband both referred to lists of instructions — crib sheets —  to see them through their honeymoon night, so ignorant were they of matters erotic.

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2) Agnes Moorehead. Not so sure here, since I never bought the idea that Agnes was ugly, and the warmth and admiration I feel for her is akin to romantic love, so maybe, under the right circumstances… but sexiness wasn’t part of her screen repertoire, which included all kinds of genius qualities, including the ability to throw hysterical attacks so convincing that terrified studio execs demanded retakes on both MAGNIFICENT AMBERSONS and THE TRUE STORY OF JESSE JAMES, to make her less effective. (It might seem perverse for studios to demand such a thing, but I suspect studio interference is nearly ALWAYS based on a desire to make films less effective.)

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3) Margaret Hamilton. A very different actress, but with a parallel to Moorehead in that both were typecast as spinsters and crones at an age when they could have been playing ingenues, had nature arranged things differently. The Wicked Witch isn’t in enough films, but over the decades she did enough obscure work that her appearances are often a surprise, as in the Sean Connery heist film THE ANDERSON TAPES. I always get very excited whenever she turns up, like a small child experiencing his first mouthful of cocaine.

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4) Una O’Connor. Usually delivered in small doses, which was probably wise — her shrieking performances in BRIDE OF FRANKENSTEIN and THE INVISIBLE MAN might conceivably appear irritating if overextended. (You think?) But I just saw Renoir’s astounding THIS LAND IS MINE, where she keeps an impressive lid on it for most of the show, only allowing those deadly lungs free rein at one key moment.

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5) Spring Byington. Utterly fabulous actress, often excelling in warm-hearted, matronly roles, but check out her bone-chilling nastiness in DRAGONWYCK, which I maintain she steals from under everyone else’s noses. The point where her character is inexplicably forgotten about by the plot is the point where the movie loses interest for me, even as a tired rehash of REBECCA.

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6) Speaking of that film, Mrs. Danvers herself (strangely impossible to picture MR. Danvers, I find), Dame Judith Anderson, deserves a mention. Often called upon to inject menace or else matriarchal might, she turns her hand ably to comedy in René Clair’s AND THEN THERE WERE NONE.

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7) I’m on shaky ground again with Ethel Waters, because I do think she’s beautiful, and always appealing, warm and engaging (in contrast to her knife-wielding offscreen behaviour!), and I wouldn’t like to think I’m shoving her into some character actor Siberia just because she’s heavy. But CABIN IN THE SKY allows ample opportunity to compare and contrast her with Lena Horne, and then certain subjective truths become inescapable. My love of Ethel is entirely platonic. My love of Lena is entirely otherwise.

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8) Irene Handl. When you have a figure as beloved in old age as Irene Handl, once in a while you get the urge to see what she was like when young. But with Irene Handle, youth appears to have been a condition she never experienced. A brilliant eccentric player, she forged an unlikely career, given her unusual appearance, but she always made an impression, even in the smallest role, because she was incapable of leaving a part without fully investing it with life. So she could quite often make more impact in thirty seconds than the stars did with the rest of the film.

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9) Kathleen Freeman. You know this one? Always saying “He’s such a nice boy,” in Jerry Lewis movies. Lewis is generally brilliant at casting his supporting players, and he knew he was onto a great thing with Freeman.

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10) Dandy Nichols. Able to effortlessly take the manners and mores of social realism, 1960s style, and flip them into farce. Has a great moment in THE BED-SITTING ROOM, looking uncomfortable on a horse. That should be enough for anyone.

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11) Katie Johnson. She’s in other films, but it’s for THE LADYKILLERS she’s remembered. So old and frail at the time that she failed the insurance exam and had to be replaced with a younger actress, who promptly dropped dead, so Katie got the part in the end, and a good thing too. Her combination of physical fragility and steely moral certainty is exactly what the film needs.

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12) Flora Robson. I saw her interviewed on TV when I was a kid and she was pretty old, and the interviewer kindly said that she had grown more beautiful with age, while the glamour girls could only fade. It’s kind of true, but what an amazing career she had with her big Rondo Hatton face — it no doubt kept her from many parts, but she was able to command some corkers. And actually, her flirtation with Errol Flynn in THE SEA HAWK is entirely charming and credible.

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13) Marie Dressler. DINNER AT EIGHT is actually kind of a yawn for me, but I do love her spectacular double-take when Jean Harlow says she’s been reading a book. Anybody who does a gigantic double take is tops with me.

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14) Thelma Ritter. Her presence here at number 14 makes it VERY clear, I hope, that this list is in no particular order.

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15) Esther Howard. A little obscure here? But SULLIVAN’S TRAVELS fans will know her as the randy widow Joel McCrea flees, jumping out the widow’s window rather that submitting to her wiles. Which is to say, sexuality is a part of the Howard repertoire, but it’s a comedy version, and what’s most important about her is her overbearing “charm”, deployed to very funny effect in HAIL THE CONQUERING HERO and about a hundred and fifty other films and TV shows. I’ll even add one not listed among her credits on the IMDb: WHAT A WAY TO GO!

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16) Megs Jenkins. One of my favourite larger ladies in British films, as seen in GREEN FOR DANGER and THE INNOCENTS. Her appearance is sort of Kathy Bates-like, but she has an incredibly beautiful and unusual voice, and I feel all warm and snuggly whenever I hear it. I would probably trade one of my less necessary limbs in exchange for about 1000 hours of Megs reading audio-books.

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17) Renee Houston. Had to have one Great Scot on the list. Renee was very pretty in the ’30s, but wasn’t making any films I’ve seen, so I know her from her later roles as battle-axes, drunken baggages and generally rambunctious females. She generally inspires a loud cheer in my household when her name appears in the credits, as it does in TIME WITHOUT PITY.

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18) The alarming Gail Sondergaard. I have no excuse for it, but I actually like her dragon lady yellowface stereotype turn in THE LETTER. And she’s terrifying in CHRISTMAS HOLIDAY, without seeming to try.

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19) Patricia Collinge. Cinema’s greatest mum, apart from mine, that is, who can be seen briefly from the back in extreme longshot in my short film CRY FOR BOBO, and who recently complained that I’d made her look dumpy or something.

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20) Aline McMahon, but then actually I do think she’s extremely beautiful and under the right circumstances, if I were a younger man, etc…

And twenty who do fill me with indecent cravings:

Louise Brooks, Clara Bow, Annabella, Joan Blondell, Myrna Loy, Olivia DeHavilland, Paulette Goddard, Veronica Lake, Ava Gardner, Joan Greenwood, Gene Tierney, Natalie Wood, Claudia Cardinale, Shirley MacLaine as Fran Kubelik, Britt Ekland if I’m honest, Susannah York (I’m coming to believe she makes an even better Julie Christie than Julie Christie), Jeanne Moreau, Genevieve Bujold, Maggie Cheung, Charlize Theron… I could go on…