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Jim’s Australiana Spot – 2UE - January 29, 2017

Sydney goes to the flicks part 2

Jim is back from Tamworth after the 2 LAST EVER Morning Variety Shows (BOTH SOLD OUT!) and launch of his TWO new CDs.

LAST WEEK - Before WW1 an estimated one in 8 Aussies spent Saturday night at the cinema! We developed a totally DIFFERENT cinema culture to USA where nickle odeons were cheap & continuous. Here going to the 'pictures' was an event. In the silent era we made 100s of films.

The great age of CINEMAS in Sydney was 1920 - 1970 and the classics we remember started in the 1970 with Alvin Purple and Bazza Mackenzie.

1 What effect did the coming of sound in movies have on professional musicians?
  It put them out of work
2 There were very few Aussie films in the 1950s and 60s - but Deborah Kerr Robert Mitchum and Peter Ustinov starred in ?
  The Sundowners
3 Who can sing the song that the Picture Show Man used to amuse audiences when the film broke!
  Tap tap on my window

• We were the biggest importer of Hollywood movies in the world.
• The mania for popular films was almost unbelievable!

Some Sydney Cinema Memories
• “The Paris”, corner Liverpool Commonwealth Street, had silver coloured curtains.
•“The Mayfair”, Pitt Street, very wide proscenium, green-coloured curtains.
•The “Rapallo” in George Street, art-deco sculptured ceiling with hidden lighting,
• Next to “The Rapallo” was “The Paramount”, a single-level auditorium built from a former furniture factory in 1966.. “The Rapallo” and “The Paramount” were demolished in 1983 to make way for the Greater Union multiplex.
• “The Forum” near Central Railway was originally a three level auditorium. About 1960, the theatre was renovated with large ‘Sensurround’ speakers at the base of the stage used for “Earthquake” (1974) and “The Battle Of Midway” (1975). the warning before movies was that the cinema was not responsible for health problems resulting from the low-frequency rumble.



C J Dennis
(Written 1929, when the Commonwealth Government offered two prizes of £500 each for film scenarios)

Oh, I’ve got a lovely story that I’ve thought out all myself.
It will make a gorgeous picture, I am sure.
(Mind, it isn’t for the money, for I am not keen on pelf,
And my attitude to Art is very pure.)
It is full of real heart-int’rest, mother-love and passion rare,
And gun-fights and a bad, bold man (who dies),
And a big, strong he-man hero with divinely marcelled* hair;
And I really think it ought to win the prize.

The hero falls on evil days and sinks and sinks quite low
(This is where the villain comes upon the scene),
But the mother writes a letter pointing out the way to go
(We will show the letter, close-up, on the screen);
Then Augustus (that’s the hero) meets a lovely girl by chance,
With great, big, soulful, golf-ball, baby eyes,
And undying love comes to them at the very first brief glance.
Oh, I really think it ought to win the prize.

But ways of true love ne’er run smooth, and lots of dreadful things
Occur, and all their plans turn out amiss.
But thro’ the fights and flights and frights she clings and clings and clings
To win him with the last, long, luscious kiss.
I don’t know much of writing things — scenarios and such;
Still, one never really knows what one can do.
But the theme is so original and has so quaint a touch
That I think it ought to win the prize. Don’t you?


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