The following article was first published in the 2004-2005 issue of The Guyana Annual magazine. This general family magazine was started in 1915, and published under the title, The Chronicle Christmas Annual. I have the presented the article as it was published way back then. A follow-up is warranted.)
THE development of the cinema industry in Guyana did not lag far behind the growth of the film industry worldwide. However, the decline of cinema in Guyana was due to complacency, lack of foresight, and an unstable socio-political climate.
The birth of the cinematographic art at the turn of the 19th Century was another indication of Man’s quest to express himself, using both art and science.
In 1920s, the Gaiety Cinema opened in the heart of the city of Georgetown, heralding the cinematographic art that was to fascinate hundreds of thousands of viewers, entertaining and educating, creating a platform for dialogue, thereby building social cohesion.
That landmark, which went up in flames in 1926, was situated in the compound of the Catholic Presbytery on Brickdam, Georgetown. Those were the days of the silent movies — the Charlie Chaplin pantomime.
Although the first cinema was short-lived, the show went on at about seven other cinemas throughout the country, inflaming the imagination of more and more Guyanese. So, by 1931, there were 10 such magic houses spread over the three counties of Guyana — Camp Street, Georgetown; Buxton, on the East Coast of Demerara; New Amsterdam, Berbice; Adelphi, Rose Hall, and Number 79 Village, Corentyne, Berbice; Diamond, on the East Bank of Demerara; Mackenzie, Upper Demerara River; Uitvlugt, on the West Coast of Demerara; and Henrietta, on the Essequibo Coast.
In 1932, three more cinemas were erected: Two in Georgetown, and one, the Rajmahal, at Peter’s Hall, East Bank Demerara. By 1934, there were 16 cinemas in Guyana. So, in less than fifteen years, there was a rapid expansion of the cinema industry in Guyana.
And why not? The cinema is a mass media: A medium with the particular function of building social cohesion, because it provided that platform for dialogue: Re-enacting the story; doing an autopsy on the whole production, all of which lent itself to freedom of expression; the ventilation of ideas; and so helped to decreased friction in society.
Apart from the main purpose of entertainment and escapism, it offered intellectual stimulation, equipping you with tools of engagement. It also offered solutions to existing social ills. The cinematographic art was larger than life; greater than pettiness; bigger than the barriers that divided the building into sections; and always portrayed that good will overcome evil.
Now for a flashback: The beginning of the film industry, though clouded in controversy, was silent, starting with silent motion pictures. Sound effects were developed in 1926, and soon afterwards travelled to Guyana.
In March 1930, the London, Georgetown’s only cinema, installed sound equipment. On Sunday,
 April 6, 1930, the first ‘talkies’ was exhibited. That film was ‘Broadway Scandals’ from Columbia Pictures, and it was the talk of the town like a scandal. This was definitely responsible for the expansion of the cinema industry in the city. Soon, the Metro, in Middle Street, Cummingsburg, opened. The Metro later became the Empire, which, unfortunately or fortunately, is now a shopping centre selling televisions, VCRs and DVDs.
The Astor opened in the 1940s, and is functioning, trying to stay alive by featuring such recent Box-Office hits like ‘Spiderman 2’, coming out of the studio of Marvel Enterprises.
The centre of the city, with a denser concentration of the population, seemed to be the best location for the erection of cinemas. Metropole sprung up two blocks from Astor, and Strand de Luxe two blocks further down the road.
Strand de Luxe opened in the 1950s with ‘Sayonara’, staring Marlon Brando. This cinema lived up to the de Luxe aspect of its name, always a luxury showpiece, and is presently equipped with sense-surround and Dolby sounds which were installed sometime later.
But the local industry was expanding, moving again out of the city. The Olympic, where admission was cheaper than other exhibition sites, was located in Lombard Street, and had the unenviable distinction of having no roof.
The Capital, just outside the capital of the country, was found in La Penitence Street, Albouystown. The Rialto, later to be called Doreen, was on Vlissengen Road, Newtown.
Doreen was burnt out in 1963, and replaced by Liberty, which was recently demolished after the building proved to be unsuited to a Chinese food and entertainment enterprise. This, for me, was a sad time, because I live in the area and had intimate trysts with the house through its many phases.
Then there was Hollywood, in Kitty, where my father related how one could gain admission with an egg in his days. Back then, Hollywood bore the distinction of being the first exhibition house to offer cinemascope. But, alas, this cinema is now a church; a fair exchange, perhaps, both filling a social need.
This expansion of the cinema industry in Guyana was due to a number of factors; additional novelties. In 1952, Cinemascope (wide screen) was introduced to replace the small screen. Three-dimensional shows added excitement. Then, English subtitles were added to Indian films, which encouraged a greater following, catering for a people who had already lost its language. Colour came on the scene, and was definitely a crowd pleaser.
Added to these improvements was the fact that movies were marketed with a passion. There were advanced billings, posters, flyers and billboards everywhere. There were film pamphlets and loudspeakers enticing all and sundry, especially persons in rural areas where the cinema was the only healthy form of entertainment. Radio programmes like the ‘Strand Bandstand’, presented by Vic Insanally, whetted the appetite of movie fans. Film magazines like the ‘Filmfare’ of Bollywood, which provided information on the filmmaking industry and the rise and fall of actors, highlighted the importance of producers and directors, fostering a craving fan club and massive crowd support. This factor is still responsible for the extended life of the few remaining cinemas. Local reviews in the newspapers also published photographs of the country’s leaders and celebrities attending movie houses. Local film clubs were formed, like the one by the Gandhi Youth Organisation, in 1981. So, it was all coming to bear on sustaining the magic houses.
The cinema industry was so firmly set in our psyche that it survived the racial disturbances of the early 60s. The bombing of Doreen on June 22, 1963; the Plaza on July 2, 1963; and the firing of Rio on July 10, 1964, resulting in the death of two persons, were absorbed in the civil conflagration.
Significantly, the cinema was used as a concert hall and cultural centre, with the Astor and the Metropole labelled as the hottest spots. Persons still talk about the live performances of the Platters, Sparrow, Ben E King, Cat Calloway, Mohamed Rafi, Mukesh, Mana Dey, Hari O Sharon, Shankuntala Devi, the Brazilian Trio Irakitan and our own Sam Chase.
Those were the days of uniformed ushers treating patrons with great respect; those were the days when special music was played on Fridays.
Another major factor was the Censorship Board, along with cinema managers, ensuring good, wholesome films were available for the demanding and knowledgeable consumers.
At one time, there were about 13 distribution companies with the big studio names in the film industry having local offices here; names like MGM, United Artists, Paramount, Universal, Rank, Ginata etc.
Local organisations like the Film Distributors Association and Berbice Cinema Owners Association were formed to safeguard the industry, but too soon the decline set in.
As the 1990s approached, the industry diminished, dropping from 50 to 20 cinemas. Then another 10 went. It was ludicrous and sad to see the newspaper guide bolding shouting for help, NO SHOW, week in, week out, until that particular cinema was no more.
Gone were names like Atlantis, Novelty, Apollo, Monarch, Rajmahal, Vijay, Regal, Gem, Melanie, Palm Tree, Kaydonna, Regal, and Radio City.
There is no substitute for the big-screen; no more movie magic…Until…
(To respond to this author, either call him on (592) 226-0065 or send him an email: oraltradition2002@yahoo.com)
