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processed in Australian laboratories. Because
of their “triacetate” film base, these films
required a different cement in order to splice
them. A universal film cement soon became
available which would join both nitrate and
safety film.

When operator Alf Stewart was due for
holidays, he was relieved by Regent Collins
Street operators of the time, Ken Neck (who
would eventually become Hoyts Chief
Engineer) and Otto Johnson. Both were very
professional gentlemen with whom I would be
associated later in my work life.

After three years experience as a “second
assistant” at the Crystal Palace, the theatre
manager, George Gange, recommended me
for a position as an assistant at the Century
Newsreel Theatre, which was situated in the
basement of the Century building in Swanston
Street, opposite the Melbourne Town Hall. It
would later become Capitol 2 for a period
prior to closure as a cinema.

The foyers were just adequate; downstairs metal cabinet for storage of spooled programs. Meanwhile, the Crystal Palace struggled to
several couches, and in a bay window which A trapdoor on the far side of this room opened survive, as did most suburban cinemas due to
overlooked the street was extensive cushioned to more steps leading down to the switchroom the impact of television. In 1959, it was closed
seating, flanked on either side by the usual and storage area for replacement lamps, tools, as a cinema and, after a short time as a disco,
glassed entrance doors. On the right hand side and the rectifier which supplied DC power for became a storage depot for Downard
of the foyer was a stairway with wrought iron the arc lamps. Removals. The theatre was demolished in
railing leading to the upstairs foyer which was 1976 and an office block now occupies the site.
quite small. Off this, double doors led to the The projectionist was Alf Stewart, who had
Dress Circle and Lounge seating. begun in the silent days. Two fingers missing The assistant projectionist to whom I am
from one hand bore witness to his experience indebted for so much knowledge and
The theatre was not air conditioned, but had working with Powers projectors, which had guidance, Mike Browning, moved on to work
metal foot-warmers on the floor throughout open gearing on both sides of the machine and at Channel Nine in the Special Effects
the seating areas, warmed by hot water thus hazardous for those operating them. The Department during the “In Melbourne
pumped through pipes from a boiler system. assistant was Mike Browning, who would be Tonight” era, and was cameraman for the
In summer, large fans behind wall grilles responsible for most of my training. “Nightwatch” program with Michael
assisted in cooling. There was also a section Schildberger, before moving to Sydney to join
of gable on the iron roof which could be rolled I soon learned how to thread up machines, Artransa Studios as cameraman involved in
back to allow cool night air to circulate in the rewind and check the spools of film after they the production of commercials for television.
auditorium. (As observed by CATHS member came off the machines. In those days spool
Ken Newell, who was an occasional patron at capacity was 2000 ft, which lasted The projectionist, Alf Stewart, was away for a
the Crystal from 1942 through to 1948). approximately twenty minutes, then a year (possibly 1952-53) recovering from
changeover was necessary to continue the tuberculosis, and returned to resume work
The theatre made newspaper headlines during feature. Each feature was usually on five shortly before I left at the end of 1953. He was
the early fifties. On a Friday evening during a spools or more. I learned to make up always supportive of me, for which I am
routine visit on foot patrol, police constable programs, joining newsreels, trailers, cartoons grateful. After the closure of the Crystal
George Howell disturbed a man breaking into and short subjects etc. Palace as a cinema in 1959, Alf remained as
a car parked close to the theatre. As the thief Manager of Downard’s Depot for several
fled, the constable gave chase. Running across It was a time when most release prints were on years until it was closed.
the road to the nearby railway viaduct, the nitrate film, particularly colour as there was
thief then turned and shot at the constable who no Technicolor laboratory in Australia. Although sometimes referred as a “fleahouse”
collapsed and eventually died. The murderer Technicolor prints came by sea from England (which perhaps compared poorly with the
was caught and jailed for many years. or America in those times. Some of the films nearby Waverley Theatre, East Malvern, or
Fortunately, I was ill and did not attend the that were screening in Australia at that time the Camden Caulfield in terms of ambience,
theatre on that night. were two years behind their original release in presentation and programming), the Crystal
Britain or America. To use air freight for Palace provided the people of Caulfield with
The projection room was accessed from the prints was not that common due to the freight many years of enjoyable entertainment and,
rear of the dress circle and, as with most charges and, of course, nitrate film was on many a Saturday night during the forties
suburban theatres, was not large, having only regarded as highly flammable. Hence, and early fifties, had to dust off the “House
the space for two Simplex projectors fitted transportation to these shores was slow. Full” sign despite the competition from its
with RCA soundheads. The arc lamps were nearby competitors. ê
very basic, but I cannot remember the specific Splicing of films was done with film cement.
brand name. They were powered by a For nitrate film, amyl acetate was often used.
rectifier. The slide machine (this, according to This cement smelled similar to nail polish and Credits:
Ken Newell, was a bi-unal machine with two required good ventilation around the work
lamphouses, one above the other) was area. Images from CATHS Archive
powered by a “Transarc” unit sitting on the
floor next to it. The rewind room was at the far In the early fifties, “Safety” film prints on a Additional information by Cinema Pioneer and
side of the box, down two steps on a lower non-flammable base were becoming more CATHS Member, Ken Newell.
level. It was fitted with rewind bench and common. Most were black and white prints

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