Canadian Moving Picture Digest (May 18, 1920)

Page scan 00019 from Canadian Moving Picture Digest

Record Details:

Title:
Canadian Moving Picture Digest
Date:
May 18, 1920
Volume:
Canadian Moving Picture Digest (May 18, 1920)
Leaf #:
00019
Language:
English
Subjects:
Motion Pictures, Film Industry Trade Magazine",Canad
Collection:
Canada, Hollywood Studio System, Early Cinema, and Global Cinema
Format:
periodicals
Contributor:
Media History Digital Library, Canadian Picture Pioneers, Paul Moore and Jessica Whitehead
Coordinator:
Media History Digital Library
Description:

Canadian Moving Picture Digest

Editors: Merrick R. Nutting (1917-18), Raymond S. Peck (1918), Ray Lewis (1918-19 and 1920-54), Walter Greene (1919-20), Jay Smith (1954-57)

Canadian Moving Picture Digest (1917-57) was initially a Montréal-based rival of the first film paper in Canada, Toronto-based Canadian Universal Bulletin (1915-18, edited by W.A. Bach 1915-17, J.W. Cambridge 1917-18, Raymond S. Peck 1918). The two periodicals were combined in 1918, keeping the Digest name, but moving production to Toronto with Peck as editor. Canadian Moving Picture Digest assumed The Bulletin’s volume numbering and always claimed 1915 as its year of origin. Ray Lewis (née Rae Levinsky) was a writer and playwright, who spent time in early Hollywood’s publicity departments. She briefly took the Digest helm in 1918, then long-term editor, later owner and publisher, from 1920 until her death in 1954. Under Lewis’s leadership, the trade paper claimed to serve as a voice for independent exhibitors and advocated for a Canadian cultural presence in cinema, particularly emphasizing British films as a way to keep a distance from Hollywood. Lewis's editorials were notable for their advocacy, wit, and critique of American dominance in the Canadian film market. While initially positioning herself as an outsider, she became integrated within the industry and a true insider. She even had an ongoing correspondence with Canadian Prime Minister R. B. Bennett, advocating for the industry as a whole and supporting British film imports. She was well-known at Toronto’s Dundas Square film row as well as in New York and Hollywood. Variety’s Sime Silverman called her “the Girl Friend in Canada,” and she delighted when U.S. writers not “in the know” presumed “Ray” was a man’s name. Lewis was later an inaugural member of the Canadian Picture Pioneers, eventually the group’s first female president and Pioneer of the Year. After she died in 1954, her son Jay Smith took over editorial duties until Canadian Moving Picture Digest was bought by Nat Taylor’s Film Publications of Canada in 1957. Taylor incorporated the legacy journal into a joint masthead for Canadian Film Weekly (1942-70), which subsequently dated its roots back to the 1915 origins of the film press in Canada.

– Jessica Whitehead and Paul Moore, March 2024

Further Reading

  • Whitehead, Jessica, Louis Pelletier and Paul Moore, “‘The Girl Friend in Canada’: Ray Lewis and Canadian Moving Picture Digest (1915–1957).” In Daniel Biltereyst and Lies Van de Vijver, eds., Mapping Movie Magazines: Digitization, Periodicals and Cinema History, 127-52. London: Pagrave-Macmillan, 2021.

Date Added:
May 29, 2025
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FAVERSHAM ENGAGED TO STAR IN SERIES OF SELZNICK PRODUCTIONS Noted Stage and Screen Actor Becomes Member of Selznick Organization Myron Selznick, president of Selznick Pictures, announces that he has eneiged William Faversham to star wn Selznick Pietures, This announcement is one which will create w stir‘in motion picture circles, and is ope which will meet with much favor from exhibitors. William 4 which Have-atready been brought to the highest point in motion picture production, a personality, that has packed theatres for véears. Tis ‘record ‘of sueeesses in “Who's Who in the theatre occupies two full columns, and the press of this Country has devoted duindreds of columns to his praises. He is considered an-actor preeminent, whose screen abilities are equal to his stage presence and talents. ¢ . Myron Selznick, in making known this latest advanecement of thé Selznick organization, announeed that the first produetion in which Mr. Faversham will star is already well on its way to completion. it is calJed “*The Man Who Lost Himself,’’-fronr the widelyread. story by Ernest Stackpole.” George D. Baker, -who has preduced for the sereen some of its greatest successes, is directing the production. This initial Faversham production for Selznick is deserided as an absorbing drama with comedy touches. Mr. Faversham's work in the picture gives him the same spiendid opportunity for characterization that won for him his high position among the great atcors of the American stage. ; eae As an exponent of high-class, refined drawing-room comedy, it can be said with assurance that we have no actor, either here or abroad, whose work in any Among his any way compares with Mr. Faversham’s. Faversham adds to the Selznick forbes . “RIO GRANDE”’ FAST MOVING MELODRAMA The tremendous public demand for melodrama and for pictures of the great outdoors is well refleeted in the enormous number of bookings received-in-advance of release date on ‘Rio Grande,’ the film version of the famous stage play written by Augustus Thomas and released shortly by Specialty Film Inport. The picture is fulfof action, spectacular scenes, and ‘is almost entirely an ontdoor picture with many beautiful scenic effects. * —One_of the most remarkable scenes in the produetion is the battle staged between Texas Rangers and Mexicans. It is one of the most vivid and realistic fights ever screened, dive hundred Mexicans and two hundred cowboys were actually engaged in the work before the camera, many of tht¢m mounted. The fight was staged in the streets of a village which was being raided by the Mexicans. Director Edwin Carewe spent several days preparing the cowboys aiid Mexicans for the battle and when it opened they went to it-strong. ~ g ‘Anpther great feature of the production is.a dance scene in which one hunderd expert dancers from Mexico_ City were used. The dance is held at the Hacienda of a wealthy Mexiean and the dancers are all in the colorful costumes of old Mexico. One of the most dramatie moments of the play is staged_in this setting. The story is that of a beautiful Sonorita whose father is one of the leading patriotic bandits of the border land and her romance with -an—rish-eowhoy who fora time is her hated enemy. = The fiery girl, played by Rosemary Theby, is seen as the leader of the armed Mexicans in their raid on the American town. She is captured — by the cowboy who loves her and as his prisoner she eradually awakens to her great mistake in hating Americans. % & * & sare “Phe Hichest Bidder Ftre— a i d STaZe S SS ee Witte with Mrs Fiske, “Sweet havender, ¥ “S The Open Tate,” All the Comforts of Home,’ * Che Squaw Man, "The Barber. of-Orleans,’” and “Phe Weaaliland His Wife.” = "PhetBeboved-Cheaterof ine —a-seneaerittent: LL. Wolfe Gilbert and Edna Williams.Qhas sold in exeess of half million copies. dtavas4nspired bythe Robert ~son-Cole special, “The Beloved Cheaters” with TLew Cody as star.