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The De Luxe went out with an
eight-week season of Margaret
Lockwood as The Wicked Lady.
Without missing a session the theatre
was re-painted, re-curtained and
terrazzo surfaces laid in the foyer and
corridors. The projectors now were
standard Simplex with front and rear
shutters, Western Electric sound and
Peerless arcs.
For ten days Hoyts teased the
reading public with the new name and
a different tag-line each day. These
included: Esquire – Exclusive Show
Place Rendezvous and Theatre of
Class, Personality and Style, with no
mention of where it was. (8) The theatre
re-opened on 15 November 1946 with
a better-than-average swashbuckler
from RKO, Spanish Main. (In Sydney
this film ran at the Regent.) The ad.
included a map and the location in a
small circle so that all Melbourne now
knew, “Ah, it’s the old De Luxe.”
For the next few years the theatre
presented strong entertainment. It
looked good inside, although the trend
to progressively simplify the wall
decoration went too far. By the early
fifties, when the interior was in its
‘battleship-grey’ period, the lower
reaches of the walls would have
benefited from something of the
original ‘golden- tiled dado, relieved
with cream and blue inlaid panels and
frieze.’ (2) One nice touch was in the
draping of the deep red curtains. Only
at the Esquire did the curtains touch
the floor of the stage, yet move with
enough momentum to return to vertical
folds.
Once the Regent re-opened it was
downhill again. Yet, amongst the dross Hypnotic attraction. Who could resist the urge to enter the long corridor to enjoy
the Esquire also screened some vicarious dangers? Images: Gil Whelan Collection.
nuggets; neglected or misunderstood
films that have acquired cult status. A STRONG THIRD ACT Around the World was presented in
They include Raoul Walsh’s Pursued, A three-day revival of Barbara Cinestage, a 35mm process which
Charles Laughton’s sole directing Stanwyck in Witness to Murder saw out produced a brighter and sharper picture
effort Night of the Hunter, and Don the ‘old’ Esquire. After Saturday 19 than Cinemascope, with a slightly
Siegel’s Invasion of the Body October 1957 a deeply curved screen smaller aspect ratio. It used the
Snatchers. and wall-to-wall curtains were fitted. standard four-track magnetic sound
This was an elegant installation, which system, but with split surround on the
Even when the films were tired, the
preserved the line of the former stage, speakers around the auditorium walls.
Esquire wasn’t. For the installation of
even though the screen and curtains The projection and sound system was
Cinemascope the stage setting was
were now in front of, and totally impressive: Gaumont Kalee 21s with
changed again. An extended valance
covered the proscenium. The change Kalee Varamorph lenses illuminated by
replaced the swags, and new red
wiped out five rows of the front-stalls. Mole Richardson arcs to give the
curtains covered a well-proportioned
On Bourke Street a new verandah and brightest screen definition possible. The
screen inside the proscenium. There
entrance doors were fitted, in keeping Westrex sound with Perspecta
seem to be no photos of this
with the ‘entry by reservation’ policy. integrators was unique, and worthy of
conversion.
The theatre re-opened on Wednesday 30 future comment.
October for the Gala Charity Premiere
of Around The World In 80 Days.
CINEMARECORD 2005 25