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available right from the outset. Not learning anything from their successes of the past, they
produced and marketed this system with no commercial films to screen (they never
released any), relying solely on the owner to produce and exhibit his own films.

There were numerous examples of failure with this approach over the – Movette’s 17.5mm
is a good example – The pathe 4.75mm system was a disaster and after only about a year
on the market and reportedly less that 100 units sold, it was no longer being advertised.

The one good thing to come out of this was the Lido camera, Pathescope redesigned it to
use ‘normal’ 9.5mm film only and it remains one of the best 9.5mm cameras they ever
produced.

Pathescope continued on for a few more years, producing
all sorts of odd ball equipment, they ventured into 8mm and
16mm, making various versions of some of their equipment.
Finally topping it off with the Princess 9.5mm projector,
which was nothing much more that a toy – it was even
available as a hand turned version. When one looks back at
some of the great projectors they produced over the years,
9.5mm machines like the 200B, the “H” and the PAX sound
projector, and contrast them along side some of the toy-like
junk they marketed, unimpressive sprocket-less projectors
like the Ace, the Imp, the Kid and the Princess, it almost
looks like there were two different companies with differing
design philosophies at work.
In the late 1950s – early 1960s, 8mm was taking a real foot Princess 9.5mm projector
hold with home movie makers, some very mice projectors and cameras were being
introduced. The Austrian company, Eumig was possibly the leader, their cameras and
projectors were highly regarded. Even today, their P8 Standard 8mm projector remains
one the best silent 8mm projectors available. If only Pathéscope had designed and
marketed equipment of similar quality and provided greater support for their many loyal 9.5
users, the outcome might have been different for them.

On the following pages is an article from the Pathéscope Gazette for 1956, introducing the
new format.
1 Although Kodachrome became available on 9.5mm, it had to be sent to Paris for
processing, frequently involving six or more weeks
delay.
Right: 9.5mm film package from the late 1950s –
The word “Classic” and one perforation per frame had become
part of the packaging. It must be assumed that some
confusion arose due to the promotion of new format.

Acknowledgements:
Cover photo: Monaco projector - Trevor Adams
Pages 11-13: Pathéscope Gazette June-July 1956
Page 10, 14, and 15: Pathéscope catalogue