Page 8 - CinemaRecord Edition 3-2003 #41

Saturday Afternoon at the Lyric

by Phil Beer

I started going to the movies around
the age of seven to nine years. My
uncles, Ken and Roy Hilson were
ushers at the Lyric and would leave one
exit door ajar so I could sneak in. On
most occasions I missed the National
Anthem with the Queen riding her
horse and saluting back towards the
standing audience. Usually I snuck in
on the sound of the laughing
kookaburras introducing the Movietone
News.
Charlie Steele the projectionist
allowed me to sit and watch as he fed
film into the projector, then listen for
the clicking sound as the arc bridged
the carbons, before he lifted the little
window to release the image.
What was so wonderful about this
picture theatre that made it different to
others? I think the answer is the same
for everyone - a loyalty to the venue
where you are introduced to the magic
of films. Objectively, I would have to
admit that the Royal Princess (always
shortened to the Princess) was a true
theatre with a grandeur to match its The opening of The Robe on 3 September 1954 was the talk of the town. Dignitaries
history. And the Plaza, just around the included the Mayor and Mayoress, the Victorian Branch Manager of 20th Century-Fox
corner from the Lyric, was the newest, Ron Pitt, and the Victorian manager of Westrex John O'Reilly and theatre owner
with an interesting Spanish influence. Rupert Guidice.
The Princess had two balconies,
with sections named Upper Circle, The Lyric showed all the big Twentieth
Grand and Royal Circle. I never really Century-Fox productions and had the
understood what ‘circle’ meant, sound system to go with them. Because
although it was obvious that the of this many people believed that it
balconies did bow around from wall-to- showed the best films.
wall in a semi-circle. After I sat for the The Longest Day (Fox) introduced
first time in the top gallery I wondered local audiences to eight-track stero
why anyone would pay to be so high up sound. As a promotion, the Lyric
to look at a film. introduced one week of daytime
The Lyric had huge chandeliers, or stereophonic sound music - just walk in A rare view of the Lyric interior, balcony
at least I thought they were. I marvelled and listen. seats. It offers a glimpse of the décor
at the way the biggest one changed The theatre had a flat floor and after the 1930s restoration.
from dim to brightness, then dull down posts holding up the balcony, but there
as the image on the screen took over. were no obstructions for me. I always
As if to compensate for not being the sat in the middle of the front rows to spotlight for either Brian Roberts or
smartest theatre in town, the get the full impact of the big screen and Cliff Ellis, the regular organists. After
management kept up with changes in marvel at the sounds of approaching his pre-show stint Cliff would join
film presentation. The Lyric claimed to bombers and exploding shells coming Charlie in the bio-room and rewind film
be the first independent cinema in from the back of the theatre, music for him until Interval, when it was time
country Victoria to install from other speakers and voices from to play again. Then he went home. He
CinemaScope. The Robe was shown on the screen. was paid one pound (two dollars) per
a perfectly designed screen, equal to Usually when I was there the night.
one in a capital city house. It was theatre was one-quarter full. To try to But television took its toll. For most
brought forward from the old lure more picture-goers, a Hammond of its 52 years though, Bendigo people
proscenium. organ (L100) was installed on the left- loved a good film and Bendigo people
hand side of the screen. There was no loved the Lyric. ★

8 2009 CINEMARECORD