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The Magic of the Movie Palaces. Their History...

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Cannon Cinemas – An Outline History

Cannon Cinemas Cannon Cinemas

“A vital book… authorative and handsomely produced…”
Mercia Bioscope

“Comprehensive and well- researched… first rate throughout”
Talking Pictures Magazine

Cannon Cinemas – An Outline History charts the rise, and fall, of one of Britain’s fastest-growing cinema groups which, at its height, controlled nearly 900 screens – the largest in the UK and Netherlands, together with substantial theatre operations in Germany, Italy, Israel and the United States. Established in 1979 by American-Israeli film-making cousins, Menahem Golan and Yoram Globus out of the faltering Cannon Group Inc., the circuit’s primary acquisitions had included Classic, Star, and ABC Cinemas; in addition to Granada, Gaumont Italy, the Canadian Cineplex Odeon subsidiary, Gallery; and US number six exhibitor, Commonwealth Theatres. However, spurred on by a runaway zest for film-making, massive overspending – itself fuelled by a burning desire to become the UK’s premier exhibitor – and ‘optimistic accounting practices’ the Cannon Group, by now a major US independent and still expanding, succumbed to crippling debts and subsequent rescue via Italian financier, Giancarlo Parretti a later, albeit brief “custodian” of Metro-Goldwyn-Mayer. Operating under the auspices of Pathé Communications and MGM Cinemas, the company had suffered from a string of box office disappointments and, against a backcloth of international scandal and double-dealing, duly lapsed into the ownership of its principal backer, the French state-owned bank Crédit Lyonnais, prior to being bought out by Richard Branson’s Virgin Group in July 1995.

Cannon Cinemas – An Outline History looks at the Cannon Group’s beginnings, and at some of the people and factors behind the group’s meteoric rise. Additionally, there is illustrated examination of the circuit’s picture houses highlighting some of the more definitive trademarks of the Cannon legacy including the cinema frontages and façades, the foyers, auditoria and projection equipment using many previously unpublished photographs. Included, too, is a surface account of the Frank Verity-designed Haymarket flagship, the former 1927-built Carlton Theatre acquired by ‘Cannon-Classic’ in 1982. Written by BFI/National Film Theatre and Cinema Theatre Association member, Philip Turner with the co-operation of former Cannon/MGM management, notably Barry Jenkins and George Rymer, CANNON CINEMAS – a limited edition of only 1000 copies worldwide – kicks off the Brantwood “Outline History” series which, amongst others, will include outlines also of Odeon, Warner, UCI, and Showcase Cinemas; MGM, Classic, Star, and Cinecenta; Cineplex Odeon, and Granada; Mainline Pictures; Robins, and Coronet; also ‘New’ ABC’, Cine-UK, and Virgin Cinemas.


Warner Cinemas – An Outline History

Warner Cinemas Warner Cinemas

“Of interest to all who remain fascinated by the film world...”
Talking Pictures Magazine

“Indispensable for any serious enthusiast of picture house history”
Mercia Bioscope

Whilst today a part of the ubiquitous Time Warner media and entertainments conglomerate, Warner Cinemas owes its origins to the seminal exhibition company formed by Abe and Sam Warner – shortly to be followed by brothers Jack and Harry – in Pennsylvania c.1903; and also to the ‘super’ cinema – one indirect outcome of the company’s successful experimentation with film soundtrack synchronisation. Of course, while there can be little doubting the very breadth of Warner’s film production-distribution input over the last century – and amongst which can be counted the musicals 42nd Street and the Gold Diggers series, together with such films as Don Juan, High Sierra, The Roaring Twenties, Casablanca and The Fugitive – it is in fact only as recently as 1988 that the company have begun quietly developing their own worldwide exhibition network – Warner Bros. International Theatres – whilst at the same time expanding further the eighties’ ‘multiplex concept’ in the wake of earlier pioneer work by the AMC/UCI and erstwhile British EMI/Cannon circuits. Today’s Warner multiplex theatres, frequently mocked by purists – although quite erroneously – for their supposed clinical, futuristic appearance; their close corporate similarity; and somewhat ‘factory-like’ methods of exhibition, are examined in this book, the second in the Brantwood Outline History series, which begins with a superficial look at the origins of the Warner Bros. empire, followed by an examination of the multiplex phenomenon in general; and then, more critically, at the rapid development of Warner’s UK and European/worldwide multiplex circuits, part of which culminated in their 1996 merger with Australia’s most powerful exhibitor, Village Roadshow, to form Warner-Village Cinemas. Additionally, Warner Cinemas examines several identifying features of the theatre circuit, evaluating specifically their architectural and amenity merits – quite often a triumph of human logistics over environment – in addition to their extremely high standards of fit-and-finish which has helped in making Warner one of the world’s more prestigious players in the field. Amongst others, Warner Cinemas takes a look at the cinemas at Croydon, Leicester, Acton, Harrow and Oberhausen, and also at the 1938-established Warner West End flagship. Warner Cinemas - An Outline History, which will be strictly limited to just 1000 copies worldwide, has been written by BFI/National Film Theatre and Cinema Theatre Association member, Philip Turner with the co-operation of US Warner MD Millard L Ochs; UK Warner MD Peter Dobson; and Warner VP and circuit architect, Ira B Steigler.
Warner Cinemas - An Outline History is the third in the Brantwood Cinema Series which includes already:
Moskva Kino – The Cinemas of Southwest & Central Moscow, and Cannon Cinemas – An Outline History.


MGM Cinemas – An Outline History

MGM Cinemas MGM Cinemas
“Contains a wealth of fascinating stories and detail...”
Talking Pictures Magazine

Created out of a flawed merger between the financially-strapped Pathé Communications Corporation and the remnants of Kirk Kerkorian’s fabled Hollywood studios in 1990, the launch of Britain’s premier exhibitor – MGM Cinemas(UK) Ltd – by Italian investor, Giancarlo Parretti, would occur amid a series of deals blighted by corruption, scandal and double-dealing at international level. Beset by financial problems and a highly controversial transatlantic power struggle at boardroom level, the “purchase” of MGM would result in an uncertain scramble lasting almost two years, while at the same time managing to read more like a real-life Hollywood drama than any fact-based account. Forced into receivership during 1991, both the then-recent Anglo-European exhibitor and Hollywood studio shortly lapsed into the hands of their principal backer, Crédit Lyonnais, prior to being separated and auctioned off during 1995 and 1996, respectively. While several, selective accounts of MGM’s studio history already abound, little is ever mentioned of its original, or indeed later, connections with cinema exhibition. MGM Cinemas – An Outline History, published as a companion to its Cannon Cinemas predecessor, makes good this shortfall and, for the very first time, brings together an outline of the original California studio – the later international circuit’s heritage better known, perhaps, for its Ben Hur; Goodbye, Mr Chips; The Wizard of Oz, and Gone With the Wind productions – founded in 1924 by the Russian-born Louis B. Mayer, along with a highly illustrated account of the ‘nineties UK flagship circuit also to bear the prestigious name. Highlighted here are several of the [numerous] changes to affect the UK circuit modus operandi following the radical innovations introduced by industry outsider and MGM Cinemas’ most recent MD, Mike Sommers; While included, too, is an overview of the MGM developed multiplexes, together with some of the more prestigious refurbished Cannon cinemas deemed worthy of trading as MGMs. These include the disparate Hammersmith, Ealing, Shaftesbury Avenue [and Luton] cinemas, as well as a brace of multiplex takeovers intended for the short–lived Gallery circuit: the Brighton Marina eightscreen and the London Piccadilly Trocadero flagship. Amply demonstrated throughout is the premier exhibitor’s decidely eclectic identity following a selective treatment of its cinemas’ frontages, façades, and auditorium and foyer layouts, and will appeal to a whole diversity of cineastes; employees past and present, and to connoisseurs of architecture alike. Written by BFI/National Film Theatre and CTA member, Philip Turner with help from a cast of former MGM management including MGM head Mike Sommers; ex-booking directors Stuart Hall and Joe Nunes, and former-Gallery Cinemas chief, Anthony Williams; together with input from MGM Cinemas’ principal architects: Unick and McFarlane Latter, MGM CINEMAS is a limited edition of just 3,000 copies worldwide, comprising the third in the Brantwood “Outline History” series which includes also Cannon and Warner Cinemas.


Cineplex Odeon – An Outline History

Cineplex Odeon Cineplex Odeon

“A highly recommended series”
Talking Pictures Magazine

“An interesting new addition to the Brantwood Cinema Series”
The Cinema Exhibitors’ Association

Cineplex Odeon – An Outline History examines the roller coaster rise, fall, and re-emergence of one of North America’s more enigmatic exhibition phenomena. Co-founded in Canada in 1977 by entertainment lawyer-turned-film producer, Garth Drabinsky, together with industry veteran, Nathan A. Taylor, Cineplex Corporation had been among the first to unveil a largely unprecedented concept before the movie-going public – the cinema megaplex – opening with a ‘modest’ 18-screen theatre in downtown Toronto’s Eaton Centre shopping mall. Following a near demise, prior to the smashing of Canada’s restrictive distribution practices in 1983, came the circuit’s voracious expansion, commencing with the 1984 acquisition of Canadian Odeon Theatres and, then, between 1985-87, the wholesale absorption, Stateside, of a string of prestigious circuits, among them: Plitt Theaters, and the Septum, Essaness and Neighborhood Theaters chains. As the con-tinent’s number two exhibitor, next came alliance with America’s most powerful entertainment conglomerate, MCA/Universal whereby Cineplex, under the direction of Drabinsky, now took the company through a still more vertiginous expansion – and which, at its height, had been opening some 200 screens annually – annexing New York’s RKO-Century-Warner circuit; Washington’s Sterling Recreation Organization; and both the prestigious Walter Reade and Washington Circle chains. By 1988, too, had come Cineplex Odeon’s commitment to Britain following phase three of the exhibitor’s bid for worldwide supremacy. Under Drabinsky, who, renowned for his aggressive theatre circuit acquisitions, his introduction of class within them; and painstaking renovation of historic theatres, Cineplex Odeon had served to shake the industry into a new awareness, while at the same time raising US exhibition standards. The price for over-expansion, however, and in particular entry into ancillary entertainment fields, would result in a bitter split with MCA; the eventual ousting of chairman Drabinsky, plus a trail of debt totalling more than $600m. Then, following what would be seen as an eleventh hour intervention by Sen. Leo Kolber and vice president Allen Karp – the circuit’s new top brass from 1989 – Cineplex’ tearaway expansion became immediately reversed, its non-core assets resold, and the company’s debt crisis rapidly stemmed. Enjoying a quick, complete, recovery by as early as 1994, 1998 has seen Cineplex Odeon’s collaboration with Sony Pictures’ exhibition subsidiary, Loews Theatres, to form Loews Cineplex Entertainment, one of the world’s largest exhibitors today.

Cineplex Odeon – An Outline History looks at the birth and progress of the Canadian exhibitor, and at elements of its plush theatre circuit, built primarily upon the determination of ‘one man and a multinational’. And with the aid of some previously unpublished photographs, examined here, too, is an overview of the corporation’s fledgeling Gallery circuit, Cineplex Odeon’s short-lived UK subsidiary, the dozen locations of which became surrendered initially to Cannon in 1990. Cineplex Odeon – An Outline History, strictly limited to just 3,000 copies worldwide, has been written by BFI/National Film Theatre and CTA member, Philip Turner, with the co-operation of cur-rent Cineplex Odeon personnel, former director of North American operations, Barry Silver, and ex-Cannon Cinemas Technical Director, Alan McCann.


Showcase Cinemas - An Outline History

Showcase Cinemas Showcase Cinemas

“Very good reference publications... for all interested in the changing face of cinema ownership”
The Veteran

Established in August 1986 as a UK subsidy to one of America’s most powerful exhibitors, Showcase Cinemas owes its origins ultimately to National Amusements’ founder, Michael Redstone, a former Boston nightclub owner and pioneer also of the ‘drive-in’ movie theatre. By 1967, Redstone's son, the Harvard-educated Sumner M.Redstone - nicknamed ‘the father of the multiplex’ following his official launch of the multiplex cinema - became National’s new president and CEO, developing the corporation into America’s seventh largest exhibitor. Whilst acknowledging National’s earliest cinematic innovations - which have included the ‘reclining rocker’ cinema chair - together with its recent acquisition of, amongst others, Paramount Communications (and, with it, a 49 per cent stake in rival British exhibitor, United Cinemas International); MTV, Nickelodeon, and numerous powerful TV, cable and radio networks organised under the general umbrella of Viacom - the focus of this title will be very much the British Showcase circuit which, with its 197 screens over 15 sites, has today become the “jewel" in the parent company’s exhibition crown. By adopting a rigid ‘multiplex-only’ policy, involving the faithful translation to Britain of National’s decidedly American multiscreen blueprint, the exhibitor, which to this day remains a privately-owned concern has, inside of just ten years, quietly risen to become a UK market leader. Renowned for its reticence, here, for the first time, and with the help of the original US parent, the doors of the prestigious UK exhibitor are thrown open to cinephiles worldwide, offering an insight into the British subsidiary’s unique philosophy and development. And, with the aid of some previously unpublished photographs, Showcase Cinemas - An Outline History takes in also a highly illustrated architectural appraisal of several of the circuit’s luxurious ‘modern-day supers’ - and, in particular, of their façades, foyers, auditoria and projection galleries - designed by internationally-respected architect, the Shrewsbury-based Abbey Hanson Rowe. Written by BFl/National Film Theatre and CTA member, Philip Turner, with the co-operation of past and present National Amusements personnel; sole circuit architect, Abbey Hanson Rowe, and Showcase (UK)’s little-recognised instigator, and subsequent circuit site developer, Andrew Boulton, Showcase Cinemas is limited to Just 3,000 copies worldwide.


Cinecenta Cinemas - An Outline History

Cinecenta Cinemas Cinecenta Cinemas

“A very workmanlike and accurate accomplishment”
Alan Kean, former Cinecenta MD

Launched in November 1968 following turnaround of the financially-troubled Compton Group of Film Companies, Cinecenta had begun as the new, vertically-integrated brainchild of industry investor, Leslie Elliot - the latter, setting out to reform British exhibition which, already in the clutches of a serious post-war decline, had all but lost its movie-going habit. Concurrent with an ongoing European cinematic research initiative, central to the company's approach had been the introduction of 'multi-house' cinema - arguably the forerunner to today's British multiplex - which now saw the construction from scratch of a network of cinemas designed to be both practical and flexible. Launching against a Compton-derived ‘club cinema’ backdrop, soon, it was hoped, would arrive a serious alternative to the ABC/Rank-dominated system of distribution, which had for too long denied the public a fair showing of quality, minority, and frequently foreign-sourced pictures. Beginning with Cinecenta’s noted Panton Street fourplex, along with a clutch of distinctive, purpose-built multiscreens at Bradford, Sheffield and Leicester, would begin too, the novel trend toward honest and individual film-marketing. However, barely six months into the launch, and following what had become the last in a long line of internal, family-oriented, confrontations, founder Leslie Elliot suddenly resigned his chairmanship; and, with the Cinecenta philosophy subsequently in tatters, the company quickly reverted to its seamier Cineclub traditions amid efforts to maximise profit. Alas, Cinecenta, unsuccessful in initiating the ‘British cinema revolution’, would, for more than a decade until its eventual sale in 1979, now labour under the long-distance supervision of Elliot’s Austrian-born father, Curtis. And, in what had followed a quiet - albeit less-than-straightforward - takeover of the company, the exhibitor’s 24 remaining screens became annexed by the Leeds-based Star circuit, and primarily for their London West End contingent.

Cinecenta Cinemas - An Outline History reviews this unusual, highly innovative. and much-misunderstood exhibitor, examining its aims and aspirations, whilst drawing attention to its [cinemas’] unique corporate styling. Included here is detailed coverage of the circuit's Panton Street flagship, in addition to surface consideration of some of the provincial Cinecentas, the Compton Cinema Club, and subsequent Jacey Group takeovers. Included, too. is an outline of the company’s Compton Group predecessor established in 1960 by executive producers, Michael Klinger and Tony Tenser.

Cinecenta Cinemas - An Outline History, strictly limited to just 1,500 copies worldwide, has been written by Cinema Technology contributor and BFI/NFT and CTA member. Philip Turner, with assistance from erstwhile Cinecenta chairman and founder, Leslie Elliot; former MD and industry veteran, Alan Kean and ex-Cinecenta director, Bill Derrick; also original circuit architect, Nigel Farrington, Compton Group co-founder, Tony Tenser, Gala Film Distrlbutors’ Kenneth Rive, and ex-Star Cinemas’ Publicity Controller, Don Ratcliffe.