Section 20: The Rise and Fall of the Bahau Theater Series

The Bahau Theater sprouted in the 1940s, gained momentum in the 1950s, took off in the 1960s, reached its peak in the 1970s, declined in the 1980s, faced setbacks in the 1990s, and eventually vanished in the 20th century. However, after the year 2000, driven by some domestic films and foreign masterpieces, the Bahau Theater experienced a different kind of revival, gradually developing the film industry.

Reflecting on the rise and fall of six to seven decades evokes a myriad of emotions, as everything has changed today. At that time, movies were a high-class form of entertainment and a joyful pastime for people, making the theater business highly lucrative. Even if a rubber worker only earned one or two Malaysian dollars a day, as long as they had a few coins, people would flock to the theater. Especially when a good film was released, the theater would be packed with people, and the owners would be all smiles. Therefore, running a theater business back then was profitable.

The “Happy Theater’ The official existence of theaters in Bahau began in the 1950s, although they already existed in the 1940s. The driving force behind the development of the theater industry was the "Happy Theater" in 1955. The Happy Theater was a symbol of the theater business in Bahau and belonged to the renowned Tang Xianqin(拿督唐贤钦) family. Under the efforts of Tang Yimin(唐逸民), the theater was built on Gurney Road and officially opened on May 5th of the same year. On the opening day, the District Officer of Kuala Pilah was invited to preside over the grand opening ceremony, which was a significant event in Bahau at that time.

During that period, the Malay Peninsula was under British colonial rule, and the District Officer was a British man. On the day of the Happy Theater's opening, the District Officer and other officials attended the grand opening ceremony held in the theater, creating a solemn and enthusiastic atmosphere. The Happy Theater was Bahau's first official theater, and its audience consisted not only of people from the city but also from the nearby Taman Pekaka area. In those days, the social structure was relatively simple, and there was a lack of entertainment venues, so watching movies became the most common form of enjoyment. Whenever a good film was released or during "raining days" (days when rubber workers couldn't work due to rain), the theater was always packed with crowds.

According to descendants of the Tang family, the word "Happy" in the name of the Joy Theater was created by Kong Xiangtai(孔祥泰), a Chinese teacher at Penang Chung Ling High School. These two characters were embedded in the roof of the theater, establishing a good reputation for the Bahau Theater for decades. Fighting for the Right to Screen Good Films During that period, many excellent films were screened at the Happy Theater, leaving many movie enthusiasts with fond memories. Although the Happy Theater is now part of history, it remains a shared memory among the people of Bahau.

The manager of the Happy Theater, Kang Bozhou(康伯舟), was a capable person. Since the theater operated independently and did not belong to the Shaw Brothers and Cathay cinema chains, when these two film companies had excellent films, they often prioritized their own cinema chains. Independent theaters were thus at a disadvantage when it came to securing the right to screen good films. Therefore, Kang Bozhou(康伯舟) had to put effort into this aspect, striving to.

He frequently travelled to Kuala Lumpur to book films with film suppliers and then returned to Bahau to conduct advertising campaigns, aiming to attract audiences. The advertising campaigns employed three methods: distributing small flyers on the streets, displaying large posters on street corners, and playing trailers before the main feature. Obtain the rights to screen outstanding films.

In the 1950s, the road from Bahau to Kuala Lumpur was all muddy and surrounded by desolate mountains and hills. It was rare to see a vehicle throughout the journey.

After reserving the films, it was necessary to personally travel to Kuala Lumpur to obtain the film reels from the distributors before their screening. During that time, the journey from Bahau to the capital was filled with significant risks. Any mishap along the way could result in the films not being safely transported back. While the financial loss could vary, the consequences of damaging the reputation would be severe. Today, the journey from Bahau to Kuala Lumpur takes only two hours if everything goes smoothly. Even without a private car, one can still take a bus or a taxi, ensuring the safe return of the film reels.

However, in the 1950s, even traveling to Penang was not a simple task. The roads were narrow, covered in yellow mud, winding and rough. It was rare to encounter other vehicles along the journey. If a vehicle stalled midway, it would be considered fortunate, as if calling for divine intervention.

Today, if a vehicle breaks down halfway, it is not a major problem. However, during that time, communication systems were significantly underdeveloped, and telephones were considered luxury items. If a vehicle stalled midway, there was little hope of timely delivery of the film reels to Bahau. Therefore, people prayed for a safe journey, avoiding any vehicle malfunctions.

According to descendants of the Tang family, unexpected incidents sometimes occurred during the film collection process. Due to unforeseen circumstances at other theaters after their screenings, the films might not be promptly returned to the distributors. In such cases, alternative films had to be rented for screening in Bahau. Consequently, there were instances where audiences saw advertisements for a particular film but ended up watching a different one during the screening.

Once the film reels were returned, they couldn't be screened immediately. Each reel had to undergo inspection. Since the film reels might have been damaged from previous screenings at

other theaters, they needed careful repair and splicing to avoid any disruptions during the screening, such as film breaks.

It is believed that audiences during that time often witnessed sudden burn marks or slowdowns on the screen, indicating a lack of precautionary measures taken with the film reels. Sometimes the situation was even more severe, with film breaks that were challenging to splice together. In such cases, the projectionist would turn on the theater lights, play music, and wait until the film reels were repaired before resuming the screening.

Occasionally, the repair process took too long, and the audience would become impatient, expressing their frustration through whistling and banging on chairs. Once the film was completed, it had to be returned to the distributors on time, as they would rent it to other theaters. Therefore, the process of returning the film reels also carried immense psychological pressure, similar to when they were brought back.

In reality, negotiating with distributors for film rentals required skill, and the theater's profitability depended on this crucial aspect. Some ordinary films, in order to secure a better rental price, would be heavily promoted by the distributors. However, when it came to the actual screening, the situation often turned out to be disastrous, with very few audience members, resulting in rushed screenings and unfavorable outcomes.

Excellent films could undoubtedly attract audiences and generate profits, but the increasing prices made the rental fees particularly expensive. Moreover, many theaters competed to rent films. In such circumstances, the negotiation skills for rental terms and prices became the key factor determining the theater's profitability.

When the Happy Theater had a good film for screening, they occasionally held midnight shows. Before the movie started, the audience would buy snacks from nearby stalls and enjoy them inside the theater.

The Rise and Fall of the Bahau Theater Series (Part 3)

Both Happy Theatre and Gem Theatre hold significant cultural importance for the residents of Bahau, regardless of whether they were Chaozhou or Cantonese. These two theatres are deeply rooted in the memories of Bahau people, representing nostalgic places of the past. However, both theatres have succumbed to the ebb and flow of history, leaving no trace of their existence.

Happy Theatre was a family business run by the Tang(唐) family, who were of Chaozhou origin. In an era filled with gang culture, it was easy for them to be seen as the territory of the Chaozhou people. On the other hand, Gem StoneTheatre was a joint venture initiated by several prominent locals, including Fujian and Cantonese individuals. These two theatres not only competed in business but were also seen as a rivalry between local groups.

Fortunately, these two theatres chose different sources of films, each having its own film preferences and fan base. Despite fierce competition, they peacefully coexisted over the years.

In terms of film selection, Happy Theatre primarily screened films from Shaw Brothers and Western blockbusters, such as the James Bond series. On the other hand, Gem Stone Theatre showcased more films from Cathay and Guotai（国泰）, with many Taiwanese melodramas being screened there, creating a balance between masculinity and gentleness.

The 1960s marked the era when Bahau began to develop. The rubber industry in Plantation Estate was at its peak, with a prosperous market and no issue of population outflow. At that time, Bahau only had two streets, Main Street and Gurney Road. Whenever a good film was released, the entire street would be packed with people. As society prospered, films became more diverse and complex, and the theatres became their hosts. The stories of the small town multiplied as a result.

Gan Zi(甘仔), who frequented the visit Theatre at that time, recalls that when the films of the four big male stars of Taiwanese melodramas, Qin Han(秦汉), Qin Xianglin（秦祥林）, Lin Qingxia（林青霞）, and Lin Fengjiao（林凤娇）, arrived in BMakou, not only did the theatres flourish, but the barbershops also thrived! What does the screening of melodramas have to do with barbershops?

When Gem Theatre screened films featuring the two Qins(秦) and the two Lins（林）, some boys would wear bell-bottom pants and floral clothing, getting a "flower head" hairstyle and standing on the stairs, scanning left and right.

There were two types of hairstyles: a full head of perm or just the middle section. Since the permed hair resembled a floral ball, it was jokingly referred to as the "flower head." Paired with the popular "bell-bottom pants" and floral shirts of that time, they dressed up like "princes." Gan Zi (甘仔)recalls that these men didn't care about watching the movie; they were only focused on catching the attention of the girls. They would stand on the stairs at the entrance of the theatre, scanning left and right, eagerly waiting for a girl's glance.

There was a joke at the time that if the barbershops were quiet, all they needed to do was borrow the films of the four big male and female stars from the theatre, and the shop owners would immediately have business.

Well, when melodramas were being screened, it was the time when young girls would go out in groups to watch movies. Suddenly, miniskirts and tight pants appeared on the streets, filled with the fragrance of perfume, attracting a swarm of bees and butterflies. To catch the attention of these girls, men flocked to the barbershops to have their hair permed into fashionable male hairstyles, a trend known as "Suohuo."索货“。

The Rise and Fall of the Bahau Theater Series (Part 4)

The cinema tickets at Happy Theatre are divided into three levels. The first-class tickets cost RM1.25, the second-class tickets cost RM1, and the third-class tickets cost RM0.65. Gemstone Cinema also follows the same pricing structure, but its first-class seats are located on a platform behind the screen, providing a superior and majestic experience. Normally, it is easy for audiences to purchase tickets and enter the Theatre to watch a movie. However, when a popular film is released, it is not everyone can secure a ticket. That's when scalpers may appear around you, offering to sell tickets if you are unable to purchase them. They might approach you and ask, "Friend, do you need tickets? I have some." The price of scalped tickets often depends on the popularity of the movie. It is common for the price of a ticket to double for a highly anticipated film. However, if you wish to negotiate, there is still room for discussion if both parties agree.

Scalpers, known as the "yellow cow party,"（黄牛党） usually operate in small groups, making it easier for them to successfully snatch up tickets. During the release of popular films, Theatre would limit the number of tickets each person could purchase to prevent scalpers from reselling them. However, if you have some unique strategies, they might employ tactics such as using ladders to climb into the Theatre one by one, taking advantage of their numbers to acquire more tickets for resale.

Another advantage of having a large group is that when audiences rush towards the ticket counter, they can squeeze into the crowd and lift their partners up to the top, allowing them to snatch tickets. This scene is intense and nerve-wracking. Faced with such a situation, many people would rather spend more money to buy scalped tickets. This social phenomenon is rare to witness for modern people.

According to a local resident named Guoqiang（国强）, there are various ways to find food inside the theater. As long as you secretly flatter the usher sitting at the entrance, you can easily find some small benefits. Just before the movie is about to start and the usher leaves to guide people to their seats, immediately sit at the entrance and let those without tickets sneak in, charging them an "entrance fee" in the theater restroom.

The lifespan of Bahau Theater, from its inception to decline, was approximately 30 to 40 years. Happy Theater ceased operations around 1985, while the relatively newer Gemstone Theater closed around 1997. During the struggling period of these theaters, two mini-cinemas attempted to defy the odds but unfortunately couldn't withstand the pressures of reality and ended up closing as well, which was quite regrettable.

The first mini-cinema was initially set up on Gurney Road, which is now a self-service laundry shop. Around 1987, the owner of the shop established a mini-cinema within the premises. The interior of the shop was modestly decorated, with a 60-inch widescreen television placed at the front and chairs arranged behind it. Movies were played through a video recorder, allowing the audience to watch films inside the shop.

Unlike traditional theaters, the mini-cinema had no commercial advertisements or previews. The screening would start with the main feature right away and continue until the end. Admission to the mini-cinema was only RM1, and there were no movie tickets. Additionally, a complimentary pack of bottled water was given to each viewer. The mini-cinema had three daily screenings.

Initially, the mini-cinema attracted a good number of curious viewers due to its novelty. However, within less than six months, the novelty wore off, and business gradually declined, making it unsustainable and eventually leading to its closure. During the 1980s, video recorders became increasingly popular, and the mini-cinema only relied on fans for cooling. Although it had lower costs, it couldn't escape its fate of closure.

Around 1993, the second mini-cinema was established in a shop upstairs from the current Econsave Department Store. This mini-cinema made some improvements compared to the previous one and had air conditioning installed. The seating was divided into two categories: Category 1 and Category 2. Unfortunately, no reliable information could be found regarding ticket prices. However, this mini-cinema closed down less than a year after its opening.

According to Pan Guoqiang(盘国强), the main reason for the closure of Bahau Theater was the rise in popularity of Hong Kong TV dramas in the 1980s. These dramas successfully penetrated the Malaysian market and captivated drama enthusiasts, dealing a heavy blow to the film industry. The popularity of TV dramas also led to the widespread use of video recorders, with video rental centers outnumbering movie theaters. Many unreleased movies could easily be found in video rental centers.

Furthermore, after renting a videotape, people could turn their living rooms into their own private cinemas. Families could enjoy tea and leisurely watch movies, thereby saving a significant amount of money on movie tickets. At that time, some described the theaters as being knocked down by video recorders, as films were completely under the control of videotapes, similar to how digital cameras have caused the downfall of film companies nowadays.

While many film enthusiasts still longed for the experience of watching movies on a large cinema screen with clear visuals and immersive sound effects, some films premiered in nearby theaters such as Kuala Pilah or Seremban Theater. Many enthusiasts rushed to watch these films, but by the time they were screened at Bahau Theater, they had already lost their initial buzz.

Modern cinemas have adopted digital projection equipment, replacing the traditional film projection technology used in the past, resulting in some differences in the quality of the visuals. However, due to their advanced technology and appeal to younger audiences, these modern cinemas still have a certain level of support.

For the older generation, they have a stronger nostalgia for traditional theaters as they accompanied them through a long period of their lives, creating a sentimental attachment to that era. Even though movies occasionally experienced interruptions and film cuts, it didn't hinder the beautiful memories that were left behind. Instead, it was seen as a form of "flawed beauty" that added to the nostalgia.