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lar showings and this, by government classification, is a theatre. If such a community continues to grow it is not long ago before the 16 mm. films used by the Itinerant or the town hall exhibitor are replaced by 35 mm. cnes in a specially-built theatre.
T>UT mainly Canada’s creative contribution to the modern motion picture has been that of providing a steady flow of gifted players, technicians and leaders to Hollywood — a contribution out of all proportion to our population. A brief list would include such names as the Christie brothers, Louis B. May¬ er, Jack Warner, Alan Dwan, Henry McRae, Mary Pickford, Marie Dressier, Mack Sennett, Bert Lytell, Raymond Massey, Walter Huston, Beatrice Lillie, Alexis Smith, Walter Pidgeon, Jack Carson, Robert Flaherty, Gene Lock¬ hart, Norma and Douglas Shearer, Norman Reilly Raine, Art Arthur, De¬ anna Durbin, Alan Young, Hume Cronyn, Alexander Knox, Glenn Ford, Mark Stevens, Douglas Dumbrille, Yvonne DeCarlo, Mari Aldon, Louis Applebaum and Fletcher Markle.
This year quite a number of young Canadian players have tried their luck on British theatre and sound stages. Robert Beatty is best known among those from Canada who came earlier to join the acting ranks, while Robert Farnon has made quite a reputation as a composer of film music.
Canada’s share of North American film and theatre accomplishments has never been known broadly. Mainly be¬ cause, though there are definite distinc¬ tions between us and our cousins across the border, we still have more in com¬ mon with each other than any two nations on earth. So Canadians of talent make a place for themselves in the United States and become part of American accomplishment.
TJTTHAT is the history of motion picture ” exhibition in Canada? Alfred W. Cooper brought Clarke’s “Wheel of Life,” invented in 1845, from London, England to Toronto. A tin cylinder, when re¬ volved rapidly by hand, its colored pictures showed people going through the motions of eating, drinking, clown¬ ing and so on. It was treated as a toy by the children of each new Cooper generation. When the motion picture
industry had grown great enough to invite enquiry into its past by histori¬ ans, Clarke's “Wheel of Life” became valuable in the eyes of its owners. It is said a bid for it by the Ford Museum was refused.
Before the Kinetoscope there was the triple stereoptican, which was used to
JOHN C. GREEN (1866-1951)
show “Dissolving Views” of “Picturesque and Beautiful” Canada and Europe. These, made in England, “were not lantern slides,” wrote the late Jack C. Green of Mundare, Alberta, who exhibit¬ ed them, “but showed the sunrise, which changed visibly to full day and then moonlight.” He had three complete twohour performances, one of which was made up of 135 slides about Canada furnished him by an official Canadian Pacific Railway photographer. A second set showed the United Kingdom and the third “Famous Castles and Cathed¬ rals of the World.” The first movie exhibitors found it necessary to assure their patrons that what they were about to see were “No Stereoptican Views.”
Canada, of course, has had its share of Kinetoscopes, which were discussed at the beginning of this article.
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