Right on, MikeRogers. Village Cinemas Rivoli complex in Melbourne insists on a reserved seat policy at all their screenings without the benefit of Ushers. I have witnessed near-fisticuffs over this stupid policy in a session of only 5 patrons! Fair enough if a session is likely to be near or full capacity, but a morning session on a weekday – give me a break.
Gold Class. Outrageous ticket prices only out-classed by exorbitantly priced fried and greasy finger food described as “upscale” dining.
Disruptive waiters weaving in and out of seats, a gym-like workout of tummy crunches attempting to look up to the screen from the reclined position, and audience members who truly believe they have the right to be as rude and disruptive as they please having paid for this “privilege”.
And folks, you should see the state of those food and drink stained seats when the cleaners lights are on!!!
Had the pleasure of meeting this amazing man and his Salon Of The Theatres on my first visit to LA from Australia seven years ago. This was the undoubted highlight for me. Such a charming man with a love for his work and enthusiasm to share his outstanding talent and skills. I was even honoured to see “backstage” – his workshop – which was as awe inspiring as the museum itself. A very sad loss, but please Los Angeles, ensure his Salon Of The Theatres remains as a permanent memorial to his outstanding talent and humanity to inspire future design students and visitors for years to come.
Hi Ian,
A friend and myself leased the Paris Theatre for a (very) short time after Hoyts shut it when their 7 screen centre opened in George Street. I am currently writing an article on that brief time for the Cinema And Theatre Historical Society’s publication – Cinemarecord – and would love to obtain your photos for the CATHS`archive, which is the only active archive in Australia for cinema and theatre memorabilia preservation. Please contact me at Look forward to hearing from you.
Regards, John Holloway.
After all the fears of imminent closure of the Village and Bruin earlier this year I wonder how they are operating under the Regency banner. Are the programming and presentation standards being maintained, or infact, even better than when leased by AMC? After all the uncertainties of the future of these 2 theatres so recently, I sincerely hope the local population are supporting Regency in their faith in these showcases.
When opened in January 1930, the Public Health department identified 22 building breaches. When the owners refused to comply with Health Department demands, the theatre was closed on 6 November 1931, and the owners went into liquidation. Balwyn theatre remained closed until the following April 1932.
Originally the circle was accessed directly from a staircase leading from the stalls foyer. In 1941 major alterations saw the construction of a mezzanine circle foyer and the addition of 2 more toilet blocks.
Final screening was Saturday December 20, 1975 with the double feature “Fists Of Fury” and “The Chinese Connection”. Following closure, the circle level was extended to the proscenium to accommodate a gymnasium.
Originally opened with rear screen projection, a conventional bio-box was constructed at the back of the auditorium a few years later. Demolition of the old bio-box, allowing the screen to be moved to the back wall, meant no seating capacity was lost.
Naming these two cinemas “Cleopatra” and “My Fair Lady” was a loop-hole around (then) Melbourne City Council by-law that banned film advertising to be displayed above the awning of a cinema. Accordingly, both films were then able to be promoted with huge back-lit and neon flashing displays across the facade of the buildings, all in the guise of the theatre’s “name”.
Just as well opening weekend attendances weren’t considered the be-all and end-all as to a movies success or failure back in 1965. Despite much publicity for the 70mm premiere at the Paris theatre in Melbourne, the film opened very “soft”. It took about 3-4 weeks before word-of-mouth saw SOM become the biggest box-office hit of all time in Victoria. If such a situation arose today, it would be pulled after one week.
Located in the suburb of Bulleen, Hoyts changed the name to Doncaster – in actual fact a few suburbs away, when the new Eastern Freeway opened and terminated at Doncaster. It was hoped that a new Freeway access would help attendances. Throughout its short life this drive-in was plagued with the constant problem of fog. Constructed on low-lying ground virtually on the banks of the Yarra river, the rolling foggy conditions were impossible to control.
Movie ads today are so boring! A film title with dozens of “critics” grabs (eg. remember a few years back when “2 thumbs up” was THE big selling point?“
How I long for the days when movies were sold to the public with wonderful art-work and a sense of what the movie was about. Look no further than 1960’s examples of "A Funny Thing Happened On The Way To The Forum” or “The Yellow Rolls Royce”. Beautifully designed publicity that left the public in no doubt as to the type of movie they were about to buy tickets for. Truly, a lost art-form.
Hi Michael. Am amazed that a conversion to 3 strip Cinerama was realised as late as 1962. The limited play dates indicate that this was well near the end of the “use by” date. Don’t get me wrong – I loved 3 strip Cinerama – but this truly was at the dawn of “Super Panavision” single lens, and I’m surprised that any theatre chain would have agreed to the cost of installing 3 strip so many years after the initial introduction. Cinerama Dome I can understand, as it was a new building, but the expense of converting a standard auditorium at such a late date has me bewildered.
fanoffilm – Please expand on this news. Does this have anything to do with recent posts re rumoured change of management? Should The Paris be endangered, NY will the be the poorer.
Having never been privileged to visit this theatre, as well as the Village, and indeed, the now lost National, is it possible that Mann might consider twinning or even tripling these iconic theatres in an attempt to secure their future? Please note – this is NOT my preferred option, but better than the fate that befell the National. BTW. What now occupies the land that used to be the National?
Sorry, cannot believe this is a positive in an attempt to sell a film, much less “glitz”. “Avatar”, no matter how much hype, will be a 2 week wonder. Consider “Sound Of Music”. Opened here in Melbourne as a Roadshow presentation to very soft business. If the present “opening weekend” figures were factored then, SOM would have closed the following week. Instead, it went on to break all box office records with a 31/2 year run due to word of mouth.
For heaven’s sake. If you can’t last 2-3hours without a toilet stop it’s time to get a referral to a urologist. I can’t believe audience members are unable to enjoy a movie without drinking copious amounts of soda and stuffing their mouths with food. Best wishes and continued success to you, Manager, Grand theatre PA. You obviously take a pride in the satisfaction of your audience, monitor the auditorium and enforce the rules you have set to ensure the comfort and enjoyment of your most important asset – your ticket-buying audience. If only there were more like you.
Yes, JodarMovieFan, but what a sad inditement that there appears to be only one new 70mm print of West Side Story in circulation – and predominantly in Europe. Only takes one stuff-up to ruin a (previously) pristine print. Let’s keep hoping for a brand new 70mm print run for world wide distribution.
Young and innocent(?) How i wish I had the balls to visit this cinema when living in London during the 1970’s. Would love to know what theatrical/architecural piece of history was lost to London when demolition took place.
Worked here for a fortnight in the mid 70’s. Feature was one of the latest Pink Panther films doubled with “A Shot In The Dark”. I was assigned to the top balcony, which had no foyer, so was forced to sit through this double-feature for 8 hours a day! We had 2 x 20 minute breaks per shift which involved going down 2 storeys to the stalls foyer,walking the length of the stalls to a side entrance of the stage, walking behind the screen and then climbing an old metal spiral staircase for another 4 storeys to reach the tea room. Of course, after completing this marathon, it was time to turn back and return to your assigned work position!
I also recall an alarming keystone affect of the screen, due to the steep throw from the bio-box which was situated at the back of the top circle.
Always a pleasure to visit the Rivoli. Beautifully maintained, impecably polite and helpful staff – always feel this is a result of superb managerial skills, and showmanship second to none. No ifs/buts will the curtains be operating today! A true Cinema Treasure.
Right on, MikeRogers. Village Cinemas Rivoli complex in Melbourne insists on a reserved seat policy at all their screenings without the benefit of Ushers. I have witnessed near-fisticuffs over this stupid policy in a session of only 5 patrons! Fair enough if a session is likely to be near or full capacity, but a morning session on a weekday – give me a break.
Gold Class. Outrageous ticket prices only out-classed by exorbitantly priced fried and greasy finger food described as “upscale” dining.
Disruptive waiters weaving in and out of seats, a gym-like workout of tummy crunches attempting to look up to the screen from the reclined position, and audience members who truly believe they have the right to be as rude and disruptive as they please having paid for this “privilege”.
And folks, you should see the state of those food and drink stained seats when the cleaners lights are on!!!
Had the pleasure of meeting this amazing man and his Salon Of The Theatres on my first visit to LA from Australia seven years ago. This was the undoubted highlight for me. Such a charming man with a love for his work and enthusiasm to share his outstanding talent and skills. I was even honoured to see “backstage” – his workshop – which was as awe inspiring as the museum itself. A very sad loss, but please Los Angeles, ensure his Salon Of The Theatres remains as a permanent memorial to his outstanding talent and humanity to inspire future design students and visitors for years to come.
Hi Ian,
A friend and myself leased the Paris Theatre for a (very) short time after Hoyts shut it when their 7 screen centre opened in George Street. I am currently writing an article on that brief time for the Cinema And Theatre Historical Society’s publication – Cinemarecord – and would love to obtain your photos for the CATHS`archive, which is the only active archive in Australia for cinema and theatre memorabilia preservation. Please contact me at Look forward to hearing from you.
Regards, John Holloway.
Sorry William. Just another Senior’s Moment.
After all the fears of imminent closure of the Village and Bruin earlier this year I wonder how they are operating under the Regency banner. Are the programming and presentation standards being maintained, or infact, even better than when leased by AMC? After all the uncertainties of the future of these 2 theatres so recently, I sincerely hope the local population are supporting Regency in their faith in these showcases.
When opened in January 1930, the Public Health department identified 22 building breaches. When the owners refused to comply with Health Department demands, the theatre was closed on 6 November 1931, and the owners went into liquidation. Balwyn theatre remained closed until the following April 1932.
Originally the circle was accessed directly from a staircase leading from the stalls foyer. In 1941 major alterations saw the construction of a mezzanine circle foyer and the addition of 2 more toilet blocks.
Final screening was Saturday December 20, 1975 with the double feature “Fists Of Fury” and “The Chinese Connection”. Following closure, the circle level was extended to the proscenium to accommodate a gymnasium.
Originally opened with rear screen projection, a conventional bio-box was constructed at the back of the auditorium a few years later. Demolition of the old bio-box, allowing the screen to be moved to the back wall, meant no seating capacity was lost.
Naming these two cinemas “Cleopatra” and “My Fair Lady” was a loop-hole around (then) Melbourne City Council by-law that banned film advertising to be displayed above the awning of a cinema. Accordingly, both films were then able to be promoted with huge back-lit and neon flashing displays across the facade of the buildings, all in the guise of the theatre’s “name”.
Just as well opening weekend attendances weren’t considered the be-all and end-all as to a movies success or failure back in 1965. Despite much publicity for the 70mm premiere at the Paris theatre in Melbourne, the film opened very “soft”. It took about 3-4 weeks before word-of-mouth saw SOM become the biggest box-office hit of all time in Victoria. If such a situation arose today, it would be pulled after one week.
Located in the suburb of Bulleen, Hoyts changed the name to Doncaster – in actual fact a few suburbs away, when the new Eastern Freeway opened and terminated at Doncaster. It was hoped that a new Freeway access would help attendances. Throughout its short life this drive-in was plagued with the constant problem of fog. Constructed on low-lying ground virtually on the banks of the Yarra river, the rolling foggy conditions were impossible to control.
Movie ads today are so boring! A film title with dozens of “critics” grabs (eg. remember a few years back when “2 thumbs up” was THE big selling point?“
How I long for the days when movies were sold to the public with wonderful art-work and a sense of what the movie was about. Look no further than 1960’s examples of "A Funny Thing Happened On The Way To The Forum” or “The Yellow Rolls Royce”. Beautifully designed publicity that left the public in no doubt as to the type of movie they were about to buy tickets for. Truly, a lost art-form.
One for the rumour file. I hear Hollywood Heritage are very keen to take over this property. Can anyone confirm/deny please?
Hi Michael. Am amazed that a conversion to 3 strip Cinerama was realised as late as 1962. The limited play dates indicate that this was well near the end of the “use by” date. Don’t get me wrong – I loved 3 strip Cinerama – but this truly was at the dawn of “Super Panavision” single lens, and I’m surprised that any theatre chain would have agreed to the cost of installing 3 strip so many years after the initial introduction. Cinerama Dome I can understand, as it was a new building, but the expense of converting a standard auditorium at such a late date has me bewildered.
fanoffilm – Please expand on this news. Does this have anything to do with recent posts re rumoured change of management? Should The Paris be endangered, NY will the be the poorer.
Having never been privileged to visit this theatre, as well as the Village, and indeed, the now lost National, is it possible that Mann might consider twinning or even tripling these iconic theatres in an attempt to secure their future? Please note – this is NOT my preferred option, but better than the fate that befell the National. BTW. What now occupies the land that used to be the National?
Sorry, cannot believe this is a positive in an attempt to sell a film, much less “glitz”. “Avatar”, no matter how much hype, will be a 2 week wonder. Consider “Sound Of Music”. Opened here in Melbourne as a Roadshow presentation to very soft business. If the present “opening weekend” figures were factored then, SOM would have closed the following week. Instead, it went on to break all box office records with a 31/2 year run due to word of mouth.
For heaven’s sake. If you can’t last 2-3hours without a toilet stop it’s time to get a referral to a urologist. I can’t believe audience members are unable to enjoy a movie without drinking copious amounts of soda and stuffing their mouths with food. Best wishes and continued success to you, Manager, Grand theatre PA. You obviously take a pride in the satisfaction of your audience, monitor the auditorium and enforce the rules you have set to ensure the comfort and enjoyment of your most important asset – your ticket-buying audience. If only there were more like you.
Yes, JodarMovieFan, but what a sad inditement that there appears to be only one new 70mm print of West Side Story in circulation – and predominantly in Europe. Only takes one stuff-up to ruin a (previously) pristine print. Let’s keep hoping for a brand new 70mm print run for world wide distribution.
Not just United States MPol – around the world (particularly Australia) so we can all rejoice in this wonderful classic
Young and innocent(?) How i wish I had the balls to visit this cinema when living in London during the 1970’s. Would love to know what theatrical/architecural piece of history was lost to London when demolition took place.
Worked here for a fortnight in the mid 70’s. Feature was one of the latest Pink Panther films doubled with “A Shot In The Dark”. I was assigned to the top balcony, which had no foyer, so was forced to sit through this double-feature for 8 hours a day! We had 2 x 20 minute breaks per shift which involved going down 2 storeys to the stalls foyer,walking the length of the stalls to a side entrance of the stage, walking behind the screen and then climbing an old metal spiral staircase for another 4 storeys to reach the tea room. Of course, after completing this marathon, it was time to turn back and return to your assigned work position!
I also recall an alarming keystone affect of the screen, due to the steep throw from the bio-box which was situated at the back of the top circle.
Always a pleasure to visit the Rivoli. Beautifully maintained, impecably polite and helpful staff – always feel this is a result of superb managerial skills, and showmanship second to none. No ifs/buts will the curtains be operating today! A true Cinema Treasure.
Another nail in the coffin of the disappearing heritage of Greater London. Next to go is Odeon West End. When will the city fathers learn?