The Art Deco gem was built by Habib Hoosein, who was trained in the cotton trade but whose real passion was film. He famously named it “Liberty” in honour of India’s independence (1/8)
Moving away from Hollywood, it showed only Hindi films. "That a house of this kind should declare itself exclusive for Indian films is a matter of pride and pleasure to the industry." - Motion Picture Magazine, April 1949 (2/8)
Hoosein’s son, Nazir, who was seven years old at the time, was present at the cinema’s inauguration and ceremoniously cut the ribbon. Habib Hoosein insisted the first screening be for the workers who had built the Liberty, and their families (3/8)
Mary N Woods, Prof. Emerita, Dept. of Architecture, Cornell University, narrates, “After Habib Hoosein’s death in 1970, the Liberty passed into the hands of a private consortium. It fell into disrepair. Nazir Hoosein undertook a twenty-year legal battle to regain control (4/8)
Hoosein had an indomitable spirit – he protected and preserved the Liberty at all costs because he understood its incalculable value for the intertwined histories of film, modernity, architecture, and the city of Bombay.” (5/8)
Hoosein passed away on 12th May 2019, leaving behind an incredible legacy for his family, who have taken on the mantle of Liberty cinema (6/8)
Image 1:Archival image of Liberty Cinema(Image credit: @karlbhote)
Image 2:Ground breaking ceremony at Liberty in 1947. Mr. Hoosein in shorts and sunglasses(Nazir Hoosein Family Archive)
Image 3:Nazir Hoosein(standing) with friend Saleem Ahmadullah, director of Regal cinema (7/8)
#72YearsOfLibertyCinema Inaugurated on 21 March, 1949. The Liberty Cinema, now a Grade-II Heritage Site and also known as “the showplace of the nation” was designed to be both “local and global, modern and traditional’’. M A Ridley-Abbott was appointed the architect (1/7)
Unfortunately, soon after the completion of the first floor, he died in a plane crash while travelling to England on holiday. J B Fernandes completed the construction work.
(2/7)
W. M. Namjoshi, an interior and furniture designer, created the distinctive décor of the theatre’s exterior and interior with the help of Habib Hoosein. One striking details of the cinema's exterior is the theatre’s name spelled out in neon and a streamlined piano keyboard (3/7)
Mr. Shiavax Cawasji Cambata, a prominent businessman and owner of Eros Cinema, spared no expense in the making of this magnificent theatre (1/5)
After 5 years of careful thought and planning with experts from all parts of the world, Cambata successfully built an ultra-modern enterprise that stood higher than anything that was attempted in the Entertainment world of this country and many European cities (2/5)
The chairs of the theatre were designed after Mr. Cambata personally examined chairs of all types in Europe and America. The air conditioners were manufactured by Clarage Fan Company of Kalamazoo, Michigan, U.S.A (3/5)
Eros cinema was designed with exquisite interiors to compliment its grand exterior.
The cinema theatre, claimed to be the most up-to date cinema of its time, was designed to produce the best possible acoustic properties (1/6)
The perforated rubber cinema screen was the largest of its kind in India. The stage, measuring 46 feet by 26 feet was one of the largest in existence, and had an orchestra space to accommodate about 50 musicians (2/6)
One of the highlights was the fire-proof safety curtain weighing two and a half tons, driven by motors – the only one of its kind in the whole of the East. The cinemas interior was surrounded with life-sized plaster reliefs, which were specially made by an Italian artist (3/6)
Ram-Nam, Marine Lines on Cinema Road, behind Metro cinema, the popular Art Deco picture palace in Dhobi Talao. #MeherMarfatia talks about its construction that obstructed the sea view. Resident of nearby Jehangir mansion, Pesi Khansaheb, paid Rs 4 extra a month - Rs 72
instead of Rs 68 for 4th floor sea views. Ram-Na m is a majestic streamlined street corner building with reeded spandrels and a cylindrical turret at the roof. Tanya George @tanyatypes says, "The lettering for the building name uses bold, geometric shapes. The stencil-like effect
created due to the lack of counter spaces creates a striking design. The letterforms are also quite similar to Milton Glaser’s famous Baby Teeth typeface seen in one of his most famous works, the Dylan poster. I wonder how much the design was influenced by the typeface
Rajjab Mahal, Oval, 1936 - The curious case of the mullion & transom . Architects of that time took ownership for the overall design sensibility of the building. Apart from the facade, common spaces like the compound, compound walls, staircases, lobby, grilles, flooring,
balconies and windows exhibited a harmonious aesthetic reflected through similar patterns, materials or the use of colours, all subtly pleasing to the eye. The diagonal mullion and horizontal transom in the stunning windows at Rajjab are a great example. They serve no purpose of
supporting the window frame but hold the glass panes in place. It's a visual element thoughtfully put in place by architect Merwanji Bana & Co. in consonance with the design patterns on the facade. Did you know that already? Sliding aluminium windows anyone? #WindowDesign
NM Petit Fasli Agiary, Churchgate, 1939, Designed by Gregson, Batley & King.
“Nasserwanji Maneckji Petit built the only Fasli place of worship existing even today, the N.M. Petit (Fasli) Atash Kedah at New Marine Lines” described as “perhaps the largest agiary in India and
certainly the tallest fire temple.” - #Parsiana 2019 & 1979. A severely restrained treatment of wall surfaces and of features reminiscent of the early building traditions of the homeland of Prophet Zoroaster provide a modern interpretation of a temple. The guardian bulls were
sculptured by an Italian sculptor introduced by the firm of Art Floorings responsible for the pure white marble fire pavilion and the paving of the prayer hall. The bulls have been made the chief feature of the main facade and designed with a dignity, simplicity and scale that