As a child, I was lucky to have experienced the grandeur and majesty of the Granada Cinema Bedford, when watching films. A cinema full of the awe and wonder of the 1930s picture palace. Sitting opposite St Peters green in the town, the Granada owned its surroundings with an assured and comforting design. While being home of all the latest big screen adventures and experiences the week had to offer. I remember with fondness the long queues for a film, that would stretch around the corner of the building. Finally Leading you to opulent box office lined with red curtains. While your small paper ticket acted as entrance to the large sweeping staircase of the foyer. And finally the 1.600 seat Theodore Komisarjevsky designed auditorium. Holding the second largest cinemascope screen in the United Kingdom, a screen that dominated the vast cavern of imagination, wonder and escapism.
These magical childhood memories of cinema were attached as much to the building as the film being shown. With the Italian Renaissance theme of the cinema’s design offering pure visual beauty. Alongside a true commitment to offer the finest film viewing experience possible. And despite its sticky floor and uncomfortable old seats The Granada offered pure escapism; the artistry of film expressed in architecture.
As I awaited the main feature, I would tolerate the cartoon or documentary before the film began. From documentaries on rescuing the whale prior to Star Trek IV: The Voyage Home. To Warner Brothers cartoons featuring Daffy Duck. The wait was always worth the sheer power and force of the main feature. And when the curtains finally parted and the main feature began, my imagination was all that mattered in a cathedral of film. The rest of the world disappearing for two or more hours.
These memories led to my passion for film, my love of cinematography and my belief in protecting our cinematic heritage. While equally allowing me to experience film the way a director intended. On a large panoramic screen, within a building that understood the power of cinema.
However, the birth of the multiplex led to the final curtain for the Granada Bedford. Which despite much anger was demolished in 1990, leaving an empty shell of a car park for many years before Lidl moved onto the site. The cinema’s demolition leading to a new ‘luxury’ multiplex managed by Cannon Cinemas. The ‘luxury’ elements dispensing with a huge panoramic screen, alongside the grandeur and the magic. In favour of small screens, and choice in the film on offer. And while I continued my film watching journey at the new multiplex. The magic had equally gone, replaced by something that felt far more commercially driven in nature. A conveyor belt of cinema and film, driven by sales alone.
This move away from the picture palace of the 1930s only led to a downgrading of film as an art form. Dismissing the beauty of film in making us think, explore, love and cry. And replacing it with small auditoriums, that ultimately led people toward a home viewing experience. In turn betraying one of the the most powerful mediums of artistic expression. With buildings that embodied a love of film and theatre, replaced by small black boxes, devoid of character, thought and love. In turn, providing choice at the cost of style and imagination and care. Ultimately creating a supermarket of cinema that misunderstood the mediums theatrical roots.
In recent years some independent cinemas and to lesser degree chains, have returned to the notion of experience, service and comfort. Leading to a small renaissance of the picture palace concept. However, despite this many modern cinema buildings still lack identity, care and grandeur. Instead opting for mundane carbon copy designs that offer little inspiration to the customer. While many cinema chains focus of how many nachos they can sell, rather than the beauty and power of the films they are showing. Gone are the projectionists who understood the importance of presentation, replaced by computer systems that simply press play. The experience of the film less important than the money made in the foyer.
The past decade has seen some of our historic cinemas born again. Once more providing us with a film viewing experience that inspires through location and architecture. And while this is a positive step forward in protecting our cinematic heritage. Many others historic buildings continue to be lost at an alarming rate. Something that would not happen in the architecture of theatre, art galleries or museums. Only further demonstrating a lack of understanding and urgency in protecting our cinematic heritage.
The loss of our shared cinema heritage leads to a loss of both the magic and art of film. Both imagination and will often lacking in ensuring these buildings live again in the 21st Century. Once more inspiring new generations of film makers, actors, cinematographers and writers.
I often wonder how many children stepping into a multiplex this weekend, will share the love of film generated by the picture palaces of my childhood?