hree new mums and one bearded gentleman make up our committee; Carolyn. Natalie, Florence and Ben.
The idea for a community cinema was thought up by Florence who, when walking through the town centre one day, saw an art deco cinema facia. She realised there and then that we don’t have anything like this in High Wycombe, and we really should!
She got the team together and working alongside Wycombe Arts Centre as well as some funding from the Wycombe council our aim is to bring the community together via the medium of film.
So make sure you follow our social media accounts and keep an eye on our website upcoming events. We also want to hear about films you would love us to show. We want to show as many varied movies and include as many members of the community as possible.
cinema in Harrow could improve community cohesion
Harrow Council received a planning application for the site of the Safari Cinema, in Station Road.
There are plans to build 78 flats in a block up to 11 storeys high – though the application also states there will be space for a cinema to be maintained.
The original cinema opened in 1936, featuring an art deco-style façade, and showcased a variety of films and other acts.
It has gone through numerous changes – notably, in terms of design, the introduction of metal cladding on the front – and is now a specialist Bollywood cinema.
Developer to restore cinema’s 1936 art deco façade
An iconic cinema that specialises in showing Bollywood films could make way for almost 80 new homes.
T om Dewhirst was one of the early business men who started the Tower cinema. He was my husband, Tom Greenwood’s grandfather. Tom Dewhirst’s son in law, Noel Greenwood, joined the cinema in about 1930 when he moved from Dewsbury to Hull. I can’t say just what his role was in those days but as I remember he was manager for some time but when I knew him, he would travel to the four cinemas Tower at Hull, Regent at Hull, Tower at York and Tower at Grimsby. He also went to London to book the films for these cinemas. Later he became the manager at the Tower at York until his retirement. I believe they stopped going to London to arrange for the films. As my husband died eleven years ago I can only relate what I remember.
Everard Jordan was manager at the Tower when I was first married. He gave us this photograph of himself a bit before he died. He began his career at the Tower as a young man but was chief projectionist at the Central cinema, installation engineer at the Dorchester and during wartime showed top secret intelligence films to members of the merchant navy.
His work at the Tower was shared with his wife Jean who was in charge of sales and her sister Joan who was chief cashier.
Mr Jordan was very friendly with Laurel and Hardy which began when they first visited Hull in 1947 organised through the Cinema Managers Association. They were in contact over the telephone when ever they were in Britain.
In their earlier days Mr and Mrs Jordan’s voices were well known to Hull people who dialled the ‘What’s on at the Hull cinema’ Phona diary service.
This information is from an article in the newspaper when he died, so I cannot be responsible for its accuracy! It would no doubt be given to them by his wife, but one can never be sure that it was transcibed to the paper in its original form!
Cinema was very popular then (there were nearly 5000 cinemas in UK, as opposed to less than 1000 now and audiences in the 50s were four times larger than in the 70s). Full audiences were the norm, even for matinee performances. You were shown to your seat by an usherette and enjoyed an ice cream at the interlude. Smoking was more prevalent then, so that added to the atmosphere. I was fed a diet of Hollywood Westerns, WWII dramas and British comedies — and the Pathe News! My parents did not own a TV until I was much older so the cinema and radio were their (and my) only entertainment. The growth in TV ownership gradually killed off the cinema.
“Song of Norway” 1970 Super Panavision 70mm
A fantasia on the life of the composer Grieg
Torlav Maurstad, Florence Henderson, Christina Schollin, Frank Porretta,
Harry Secombe, Edward G. Robinson, Robert Morley, Elizabeth Larner,
Bernard Archard, Oscar Homolka, Richard Wordsworth
his is an early Dolby CP-50 cinema audio processor. This was the first 4 channel optical processor I am aware of on the market. It changed cinema audio. It provides 3 screen channels and 1 surround channel from 2 optical tracks recorded on the 35mm print
This was the last edition of the bookThere were ten editions starting in 1933 Unlike the lace it up, press the button, don’t care a damn, and leave it brigade of today
his was the last edition of the book
There were ten editions starting in 1933
Unlike the lace it up, press the button, don’t care a damn, and leave it brigade of today
this book covered all the aspects of cinema projection in the days when projection was proper skilled work,
when the projectionist was responsible for all the technical applications in the cinema
Not only the showing of films, maintenance of projection & sound equipment, but the electrical installation,
heating boilers, input and extract fans, and even supplying batteries for the floor staffs torches
Oh yes, I have even repaired the girls shoes with wood glue, and supplied film cement as nail varnish remover
Below is the book Index giving you some idea of the responsibilities of the projectionist
Because You’re Mine
To Catch a Thief and Rowlandson’s England
The Battle of The River Plate
The Horse’s Mouth
The Last Angry Man
The Facts of Life
West Side Story
Sammy Going South
Move Over Darling
The Taming of The Shrew
Romeo and Juliet
The Prime of Miss Jean Brodie
Anne of a Thousand Days
Mary Queen of Scots
Lost Horizon *
The Three Musketeers: The Queen’s Diamonds *
Funny Lady *
The Slipper and The Rose *
Silver Streak *
Close Encounters of the Third Kind *
California Suite *
Kramer v Kramer *
Chariots of Fire * Also shown at the same time at Glebelands
Evil Under the Sun *
Table For Five
A Passage To India
84 Charing Cross Road
Empire of the Sun
The Man Without a Face
Miracle on 34th Street
True Blue. 50th Royal Film Performance
Star Wars Episode One: The Phantom Menace
Die Another Day
Master and Commander: The Far Side of the World
Ladies in Lavender
The Chronicles of Narnia:
The Lion, The Witch and The Wardrobe
Casino Royale in the presence of Queen Elizabeth II, and the Duke of Edinburgh
This was the 60th Royal Film Performance
Premiers were also held simultaneously at the Odeon West End, and the Empire, both in Leicester Square London on November 14th
No performance. Some controversy over upsetting minority group, or so I have read
A Bunch of Amateurs
The Lovely Bones
The Chronicles Of Narnia:
The Motion-Picture Projector
The modern motion.picture projector A a very important, (c) The Film-Mechanism. This is the section of the motion-as wail as a very expensive, piece of precision engineering picture projector which is concerned with the transport deserving of the maximum care and intelligent operation. of the film through the picture gate, where an image of It comprises a series of units brought together in a way that the film frame is projected to the cinema screen. The allows their efficient operation in inter-dependence, in spite film-mechanism is cedainly a piece of high grade of their individually complex and quite different natures. precision machinery. It P, however, so constructed that it will operate satisfactorily under the most The mechanical side of the projector is only one aspect for, arduous conditions ens the long operating apart front machinery, there is electrical equipment, elec- hours found in the average cinema. tronic equipment, optical systems, therm-electric devices, Photo-electric devices and an high-powered carbon arc or a Here wecan break down again into sub-headings and discharge lamp involved. consider the various items separately:
For the purposes of this general description, the motion-picture projector can conveniently be dash with under Me following sub-headings. These individual it are each dealt with in full detail elsewhere through Data Sheets in this Manual.
(4) The top spoolbox. (i) The magnetic soundhead.
(c) The film-mechanism.
(d) The optical soundhead.
(c) The bottom spoolbox. ) The stand.
(4) The light source. (a) The Top Spoolhos. This part of the motion-picture projector consists of a metal box into which the loaded spool of film is first inserted. The box has a central shaft to support the spool on which it rotates as the film is fed from the spool into the film-mechanism and soundheads. The spoolbox spindle is equipped with an adjustable friction device which holds the spool stcedy and prevents over-run due to momentum when the projector dons. Where the film enters or leaves a spoolbox, general’ through a slot, there is a narrow metal channel known as a fire trap and intended to prevent the passage of flame into the spoolbox should the film ignite. Since all film is now non-Pam or safety type with slow-burning characteristics, there is little danger. th) The Magnetic Smindhead. Known as the penthouse mundhead, this piece of equipment is fitted under-neath the top spoolbox and above the film-mechanism and consists of a series of tension rollers and other smoothing devices to ensure even and steady movement of the film over the multi-trace magnetic heads.
I. The take-off sprocket assembly. 2. The intermittere movement. 3. The shutter. 4. The picture gale. 5. The picture framing. fi. The take-up sprocket assembly. 7. The lens mounting. 8. The safety shutter and changeover device. I. The Take-off Sprocket Assembly. This consists of a only driven film sprocket, sometimes called the top feed sprocket, which pulls the film off the top spool and feeds it to the picture gate and the intermittent sprocket. Associated with this sprocket is a system of guides and rollers intended to ensure that the film his snugly on to the sprocket with its perforations meshing evenly with the sprocket teeth. 2. The Intermittent Movement. During the time that the picture image is being projected to the screen, the film must be held perfectly steady and accurately in place in the picture gate. It, therefore, becomes necessary to translate a continuous feed mont into an inter-mittent stop-and-start movement ands this is WC° pl idled by the intermittent, the true “heart” of the motion-picture projector. The normal type of intermittent movement used in 35mm. projector consists of a maltase cross and a cam with a striking pin. The earn P driven continuously and when the striking pin enters one of the slots of the maltase cross. the cross is turned one quarter of a revolution. Then the locking face of the cam slides Ober the curved surface of the maltose cross and during this time the intermittent sprocket, which is mounted on Mc shaft associated with the maltase cross, remains