Peter’s funeral will take place on Thursday 18 April at 12.15 at Christ Church, Upper Armley. The committal will take place before the service at 11.40 at Cottingley, all are welcome.
Unfortunately we have to share some sad news, Peter Chandley, the Chair of the Friends of the Hyde Park Picture House and a regular at the cinema, passed away late last year.
Peter’s funeral will take place on Thursday 18 April at 12.15 at Christ Church, Upper Armley. The committal will take place before the service at 11.40 at Cottingley.
We are thankful to his cousin, Margaret Francis, for sharing some stories about Peter with us which we have brought together here alongside some thoughts from the Friends of Hyde Park Committee.
Peter was born on July 20th, 1953 and was adopted a month later by Marjorie (Lawrence) and Herbert Chandley. Marjorie owned a small haberdashery shop that also sold children’s clothes before her marriage and Herbert served in the war. He late became a teacher who taught woodworking. Marjorie and Bert lived in a bungalow in Windsor, then moved to a house in Frinton on-sea when Peter came into their lives and they cherished him dearly.
Peter attended Children’s Special Service Mission (CSSM) on the beach every morning during the school summer holidays. This helped build a strong bond with his faith which was important to him throughout his life.
After school Peter went on to attend teachers college and it was this that brought him to Leeds. When his training finished, he came to settle in the city, living around the Armley area for much of his adult life.
We’re not sure when Peter first visited the Picture House but he worked for a time in the Hyde Park Area as a teacher at the Royal Park Primary school on Queens Road. There he touched the lives of many young families in the area and built a relationship with our community which would extend to his active involvement in the Friends of Hyde Park Picture House from its establishment in 1984.
Peter loved trains, especially steam trains and he sought out and enjoyed rising as many as he could in the UK. He also loved horror films, science fiction and fantasy and comic books. He was an avid collector of the latter and enjoyed many of the recent comic book adaptations.
This might seem a contrast to his lifelong commitment to the Church but these lovely dichotomies are one of the wonderful things to remember about Peter who was actively involved in the Christ Church, Upper Armley, in his adult life. It is perhaps this community which will remember him most fondly alongside our own.
Peter was Chair of the Friends since 2008 and was a valuable voice in the group. Always positive, kind and thoughtful, Peter carried with him so much of the cinema’s story. Not just the tale of our bricks and mortar but the people who had been so key to it over the years and the story of the Friends itself which is the story of the saving of the cinema. He was also a keen supporter of other local cinemas, The Hebden Bridge Picture House, the Rex at Elland. By bus and train he would traverse Yorkshire looking for the right film at the right time. Always a cheerful hello and a friendly smile, it’s impossible to know how many people he came to know in these travels.
We are sad beyond words to think of the stories which are lost with Peter’s passing. In the telling of the story of the Picture House he is a chapter we are lucky to be able to cherish.
“So why do we spend all the time we do on the Hyde Park, this one little Cinema. Well because we care about it in the world of multiplexes but we can’t afford to be complacent as I used to go to the Lyric cinema for many years but it closed and few remember it today. We know the Hyde Park is a very special place which provides a unique venue for watching the films from the oldest silent show, the foreign and all the other unusual films which don’t get shown very much anywhere else, to the special shows as well as all the other films. We have something to be very proud of and where would we go to if it wasn’t there.”
Peter Chandley 1953 – 2018
The full programme for the 32nd Leeds International Film Festival (LIFF2018) is out now. The film guide should be available to pick up in the usual places, including the Picture House (an online version doesn’t seem to be available yet). The programme is on the Leeds Film City website, a Clashfinder has been put together which is really useful tool to help plan your festival and there’s a Letterboxd list of all the films.
There are more than a hundred films to choose from as well as several programmes of short films and other events. The difficult process of deciding what to see begins and we’d love to hear what you think of the programme and are planning to see; let us know in the comments and we look forward to seeing you in November.
Hedy Lamarr was born Hedwig Eva Maria Kiesler in 1914 in Vienna, then part of the Austria-Hungary Empire which collapsed at the end of World War 1. She worked in Max Reinhardt theatrical company as a stage actress but then moved into the German film industry. Her most famous role was in Ekstase (1933), a Czech/Austrian production in German directed by Gustav Machaty. The film featured erotic scenes and a nude bathing sequence which ensured that it achieved notoriety. The film was screened at the a Leeds International Film Festival along with an earlier silent tile by Machaty, Erotikon (1929),
A failing marriage with a military munitions business man [experience she utilised later] and her Jewish status led Lamarr to leave Germany. She was recruited in Paris by Louis B. Mayer to the M-G-M studio. In Hollywood Lamar became a famed on-screen beauty. However, her roles tended to be based on her physical attributes and tended towards exotic characters. She rarely was cast in roles with strong acting potential.
Hedy Lamarr was with M-G-M from 1939 until 1943. Titles there included White Cargo (1942) in which she played Tondelayo, a black siren who seduces white colonial administrators (Richard Carlson). The story, which also had an earlier British version in 1929, suffered from racist caricature. H.M. Pulham, Esq (1941), adapted from John P Marquand’s novel, was of higher quality and was directed by King Vidor. Lamarr’s Marvin Myles was cast opposite Robert Young’s Harry Pulham.
For several years she worked free-lance, including with Warner Brothers, more titles for M-G-M, two minor Hollywood studios and at RKO. The last was Experiment Perilous (1944), directed by Jacques Torneur, which had her playing Allida Bederaux opposite George Brent and Paul Lukas in a Gothic melodrama.
Then she was at Paramount from 1949 until 1951. Here she played one of her most famous roles as Delilah in Cecil B de Mille’s Sampson and Delilah (1949), opposite Victor Mature playing the Jewish prophet and hairy heavy.
Lamarr’s film career ran out in the 1950s. However, aside from acting her ‘hobbies’ involving inventions give her story a distinctive turn. Hedy Lamarr had picked up some military science know-how from her first husband. During World War II, with support from the mogul Howard Hughes, she helped to develop a ‘radio-hopping’ device which has been utilised in more recent technologies.
Alexandra Dean’s documentary presents both aspects of her story, combining film clips and interviews, including audio tapes of Hedy Lamarr. It should provide a fascinating representation of both the film industry and the unseen other life of a Hollywood star. Hedy Lamarr was one of a select group of female stars described as the ‘world’s most beautiful woman’. More accurately the publicists could have described her as both the ‘most beautiful’ and ‘the smartest’.
Cinephiles’ Health Warning:
The title has archive footage in academy ratio reframed to 1.78:1 [television’s 16:9]. Oddly some television footage [4 by 3] and some 16mm footage [academy] are both in their original ratio.
Last Saturday there was a session to bring people up to date with the latest developments on The Picture House Project. Bill Walton went along to find out what’s been happening so far…
About forty people turned up to hear the exciting, latest refurbishment plans and to contribute their ideas.
Wendy Cook (the cinema’s general manager) set out the complexity of bringing together so many interests such as our current audiences, the wider community, film makers, funders and partner organisations, plus paid staff and volunteers. Further the project has to be achieved within a strict budget, while respecting the fabric and design of our historic building. And it has to provide a sound financial basis for the Picture House to prosper over the next ten decades!! Discussion on cinema activities will take place at a future meeting.
Eilidh Henderson (the Project’s lead architect) gave a detailed slide presentation of progress. She clearly likes developing the potential of existing buildings and gives a very high priority to maintaining the warm, friendly atmosphere of the Picture House. I can only give a flavour of the progress without showing the presentation. Eilidh pointed out that with such a complex project the result won’t be completely right for everyone!
More detailed drawings and plans will be available shortly on the project website, thepicturehouseproject.com.
Clearly. a huge amount of expertise and imagination has gone into relating design to accessibility, safety, conservation, maintenance and running costs, film screening and acoustics, community use, and the fabric of the building. The architects also aim to allow different approaches to be tried out over time with scope for adaptations in future years.
There was a lot of discussion about how the refurbished Picture House will fit into the local area. The cinema is a civic building which needs to be distinctive (hence the potential use of glass and some white brick in the extension) while blending in with the redbrick surrounding terraces. The architects have taken into account the appearance both in the daytime and at night, the outward views on to the neighbourhood from inside the new windows, the colours and architectural lines of nearby buildings, and how to best link the extension to the historic entrance.
There will be a ramped entrance, with a larger foyer extending out to the pillars. This will allow several points of sale for tickets and refreshments. It is hoped that audience habits will change over time with more people arriving early or staying on in the cafe, reducing queues. The second screen in the basement will allow improvements to programming. There will be cafe and meeting space (which is not a through route), and improved facilities for staff. The interior design will have a cinematic theme, and use a colour scheme based on the building’s history. There was some discussion about the pros and cons of unisex toilets.
The design will soon be going to the (sympathetic) Leeds Council planners for approval. It is hope that the final plans as part of a full project plan will go to the Heritage Lottery Fund in June, and that construction work will start in Spring/Summer 2019. The building work will take about a year, largely because of deepening the basement, and will give the opportunity to develop additional audiences while using other venues.
After a busy month spent thinking about subterranean excavations and their ramifications we would like to refocus our thoughts on the bigger picture and as such I am pleased to invite you to a special update session on our Heritage Lottery Fund supported refurbishment project on Saturday 10th February.
The session will include a presentation by the project’s lead architect, Eilidh Henderson of Page\Park. This presentation will explore the design development process undertaken by the team including understanding the way in which audience and stakeholder consultation has been fed into the process to date. Following Eilidh’s talk we will be open to questions and comments.
Doors will open at 2.30pm with the presentation set to begin at 3pm and run for approximately 30 minutes followed by up to an hour for questions and comments.
This session is open to everyone so do please feel free to forward details on to any friends/colleagues. In order to manage numbers I have set up an Eventbrite page which will allow you to reserve a space. Of course you are also welcome to turn up on the day and we will fit in as many people as possible, it’s hard to judge in advance what numbers we’re going to expect.
For more details about The Picture House Project please visit: thepicturehouseproject.com
For more details about Page\Park please visit: pagepark.co.uk
We asked our blog contributors for their highlights of the year and this is what they came up with.
My highlights from the films shown at the Picture House are:
- Elle, France 2016
- I Am Not Your Negro, USA, 2016.
- Lady Macbeth, UK, 2016
- The Handmaiden, South Korea, 2016
- Lover For A Day, France
- Kedi, Turkey, 2016
- Thelma, Norway
- Loving, USA, 2016
- Detroit, USA
- Human Flow, Germany
and from the film festival at different venues
- Three Billboards Outside Ebbing, Missouri (Showing at Hyde Park from January 12th), USA
- Mutafukaz, France/Japan
- The Teacher, Slovakia/Czech Republic, 2016
On a different day I could have included Neruda, Loveless, 20th Century Women or Human Flow.
My top 10 of 2017, sticking to films that got a general cinema release this year:
- Certain Women (USA, dir. Kelly Reichardt)
- Le Parc (France, dir. Damien Manivel)
- Toni Erdmann (Germany, dir. Maren Ade)
- Machines (India, dir. Rahul Jain)
- Cameraperson (USA, dir. Kirsten Johnson)
- Moonlight (USA, dir. Barry Jenkins)
- By the Time it gets Dark (Thailand, dir. Anocha Suwichakornpong)
- The Untamed (Mexico, dir. Amat Escalante)
- Dina (USA, dir. Antonio Santini & Dan Sickles)
- A Ghost Story (USA, dir. David Lowery)
The new films that impressed me this year, in the order of when I saw them, are
- 3000 Nights / 3000 Layla, Palestine, 2015.
- Certain Women. USA, 2016.
- I Am Not Your Negro, USA, 2016.
- After the Storm / Umi yori mo mada fukaku, Japan, 2015.
- The Party, Britain.
- Happy End, France.
A special mention for Casey Affleck in
- Manchester by the Sea, USA, 2016
And of the classics from the past,
- Cloud-Capped Star / Meghe Dhaka, India 1960, really impressed me.
I restricted this list to things I saw for the first time at the Picture House, otherwise the list could also have included Paddington 2, The Last Jedi, Blade Runner 2049 and Dunkirk.
- Manchester by the Sea, USA, 2016
- A Monster Calls, UK, 2016
- 20th Century Women, USA, 2016
- mother!, USA
- The Florida Project, USA
- Good Time, USA
- A Ghost Story, USA
- My Life As A Courgette, Switzerland/France, 2016
- Jackie, USA, 2016
- Bad Genius, Thailand
I’m a bit disappointed that my list is mostly English language films but a lot of the ‘foreign language films’ released this year such as A Man Called Ove, The Handmaiden and Toni Erdmann I saw at LIFF30 so haven’t included here.
Our annual Christmas screening this year is the Coen Brothers’ Fargo. Jerry Lundegaard is a car salesman in Minneapolis who has landed himself deep into debt. Desperate for money, he hires two inept crooks to kidnap his own wife in the hope that her wealthy father will pay the ransom. But when Jerry’s plan goes horribly wrong, Marge Gunderson – a pregnant but persistent police chief in rural Minnesota – is brought in to try and unravel the deadly scheme.
Members are invited to join us any time from 7:15pm for sherry, mince pies and a chance to look at plans for the HLF scheme. The film won’t begin until after 8:30 though so arrive whenever suits you. We anticipate this will be a well attended screening so if you would definitely like to see the film can you please RSVP to Wendy before 10th December.
This Soviet classic is screening at the Hebden Bridge Picture House on December 2nd. This is another of those rare chances to celebrate The Great October Revolution through the films that it inspired. If you saw The End of St. Petersburg / Konets Sankt-Peterburga (1927) here in Leeds in September you will have an idea of how impressive Soviet silent montage films can be.
The film is screening in a 35mm print from the restoration by the Munich Archive in 2005. This is now the closest version to the original screened at the Bolshoi Theatre in 1925. The restoration relied to a great extent on a surviving print in the BFI National Film Archive which was screened for the London Film Society by the director Sergei Eisenstein in 1929.
The print has both the original editing and title cards, some of which were cut by censorship later. It will have a live piano accompaniment by Darius Battiwalla. If you saw and heard the presentation of Berlin: Symphony of a Great City / Berlin: Die Sinfonie der Grosstadt (1927) here you will know what an excellent accompanist he is.
The film created a great stir on its release, both in the Soviet Union and internationally. The young Luis Buñuel was so inspired that he and his comrades erected a barricade in the street after watching the film. Especially famous is ‘The Odessa Steps Sequence’ but it seems likely that more people have seen that extract that have actually seen the whole film. Now is the opportunity to see the film complete and as close a possible to the version that created the sensation back in 1925.
The Hebden Bridge Picture House is accessible, about an hour by train or car from Leeds. It is an attractive cinema which opened in 1921, only seven years after the Hyde Park Picture House.