Canadian Moving Picture Digest (May-Oct 1922)

Page scan 000310 from Canadian Moving Picture Digest

Record Details:

Title:
Canadian Moving Picture Digest
Date:
May-Oct 1922
Volume:
Canadian Moving Picture Digest (May-October 1922)
Leaf #:
000310
Language:
English
Collection:
Hollywood Studio System, Global Cinema, Early Cinema, and Canada
Format:
periodicals
Contributor:
New York Public Library
Sponsor:
Google Books
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:
July 26, 2023
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TORONTO, CANADA. CALGARY DAILY HERALD CALLS “THE MASQUERADER” A TRIUMPH T is a long while since I have had such complete satisfaction after seeing a moving picture as I did after seeing “The Masquerader” at the Palace Theatre on Monday. I had looked forward for some time to seeing this play, and I went with the fear eating at my heart that someone would have thrown a monkey wrench into the machinery. I came away in the happy assurance that all was well, and my faith in the production of moving pictures, which has been shattered somewhat of late, almost restored to normal. Those who have seen the play here, with Guy Bates Post in the title roles, must not miss seeing this picture. Those who have read the book should not miss seeing it. And those who have neither seen the play nor read the book should certainly go and see it. Guy Bates Post is one of those rare actors with such distinctive mannerisms on the stage that one looks for them at once on the screen. Nor are you disappointed. One has the pleasure of seeing Guy Bates Post at his very best, and though it is a wonderful play to see, for one has the advantage of his wonderful voice, the picture is a thorough and sincere sup-port to the play and the book. Both are followed faithfully all through. One has to imagine so much in a play, which is given to you in the picture. The scenes in the House of Commons are done with great impressiveness and dignity. The dual parts are done by that wonderful system of photography which enables an actor to take the two parts, and as John Chilcote, M.P., and John Loder, Mr. Post has done some very wonderful work. He is consumnate actor enough, and such a master of his art, that though one knows he takes both parts, one can distinguish that there is a difference between the two men. Yet the little mannerisms creep in, such as the lifting of the eyes, the shooting out of the wrist, and the flourish of the handkerchief. Edward M. Kimball, as Brock, the servant of Chilcote, plays a wonderful part, and the various characters of Fraids, Lakely and others have been entrusted to men eminently fitted to the types portrayed. Ruth Sinclair and Marcia Mannon, in the female characterizations, give Mr. Post great support in his work. The part of Robbins is taken by Barbara Tennant and is done in a very spirited manner. Altogether, “The Masquerader” is one of the greatest plays I have seen for a long time, and I rejoice to have been able to see it. It is a triumph for the producer, Richard Walter Tully. Weaver Winston and his augmented orchestra delighted his audience with the “Peer Gynt Suite,” as his main contribution, and the orchestra handled a difficult composition with great care and fine interpretation. A most enjoyable entertainment. — Calgary Datly Herald, Tuesday, Oct. 3rd. EXCHANGE MANAGERS AND EXHIBITORS ATTEND OPENING NEW CAPITOL, MONCTON, N. B. Tue opening of the new Capitol Theatre, Moncton, N.B., which took place on Friday, October 6th, was very successful in every way. The proprietors, Messrs. Torrie & Winter, are receiving congratulations on the spacious and splendid Theatre which they have built. The Capitol’s entrance, a prism glass Marque, which leads to a lobby 115 feet long, the decorations of which are artistically designed panels. There are four ticket windows, two for the Capitol on the right and two for the Empress on the left. In the Theatre proper, which has a seating capacity of 1480, the predominant color is_ blue, G00 ies being trimmed with gold lace. The furnishings are walnut upholstered in blue. The lighting is everything that could be desired, opal bow! lights being used in the ceiling with fine cluster side lights. Four exits lead from the balcony floor to the street. Qn the lower floor there are four additional exits. A large handsome stage is so designed that it will be suitable for road attractions. The ventilation of the entire theatre is most modern. A fire-proof reinforced steel, concrete, hollow tile, operating booth insures the safety of the operators. It is equipped with two Simplex machines, motor ribbon. Page Seven The orchestra is under the leadership of Mrs. Arthur Burbank, a talented musician. Many favorable comments were heard upon the neat uniforms of blue, worn by the ushers. Among the out-of-town visitors who attended the opening of the Capitol were: Mr. F. G. Spencer, of St. John, proprietor of a number of theatres in New Brunswick and Nova Scotia; Mrs, F. G. Spencer, R. G. March of Fox Film Corporation, St. John; Joseph Fertie, Famous Lasky Corporation, St. John; W. H. Taylor, Canadian Universal Films, St. John, N.B.; A. A. Fielding, Empress Theatre, Amherst, N.S.; R. W. Hogan, Maritime Representative of the Famous Lasky Corporation, St. John. Censors Of Ontario Not Responsible For Changing Title “Divorce Coupons” We have been informed that the Censorship Board of Ontario did not find it necessary to change the title of “Divorce Coupons” to ‘Marriage Coupons” nor did they cut out any scenes. The picture played the Centre Theatre, Ottawa, recently under the title of “Marriage Coupons.” The other changes mentioned in a previous notice, in regard to this picture, we have learned are of such a minor character that they are practically of no importance. “Divorce Coupons” was changed to “Marriage Coupons” in one of our Provinces, but since both titles are equally good, the change was not detrimental. It was necessary, however, to make some alteration in the billing; and it so happened that the Centre Theatre, Ottawa, got the billing with “Marriage Coupons.” Vitagraph have this advantage, they can enjoy the success of their picture without the fear of some other trademark stealing their thunder. “Divorce Coupons” might have had a rival in “Marriage Coupons,” or vice versa. Now the only title that is left is coupons and it has no particular appeal. Bobby Vernon in Educational Christie, “Pardon My Glove” Bobby Vernon dons fighting trunks and gloves in his first Christie Comedy of the season which is called by the ladylike title, “Pardon My Glove.” Vera Steadman, George Pearce, Ward Caulfield, Tommy O’Brien and “Zack” Williams have leading parts. Bobby starts the picture with a black eye. “Pardon My Glove,” no doubt, was spoken by the guy who gave it to him. ‘That’s one way-they get those comedy titles. Cc efore yg Pictures Read The Digest Advertising Pages.