Canadian Moving Picture Digest (Apr 1923-Apr 1924)

Page scan 000657 from Canadian Moving Picture Digest

Record Details:

Title:
Canadian Moving Picture Digest
Date:
Apr 1923-Apr 1924
Volume:
Canadian Moving Picture Digest (April 1923-April 1924)
Leaf #:
000657
Language:
English
Subjects:
Motion Pictures, Film Industry Trade Magazine",Canad
Collection:
Hollywood Studio System, Global Cinema, Early Cinema, and Canada
Format:
periodicals
Contributor:
New York Public Library
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 31, 2025
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Page Twenty-two 7 / CANADIAN MOVING PICTURE DIGEST Director Shares Honors With Technical Staff “Let Not Man Put Asunder” J. Stuart Blacktom Completes Featuring Pauline Frederick and Lou Tellegen, the Romantic Lover. Enthusiastic comment at the Vitagraph studios after the first showing of “Let Not Man Put Asunder,” indicates that J. Stuart Blackton has surpassed all his previous pictures in this production. As screened this adaptation of Basil King’s famous novel is the most sensational, emotional ex ' position of the pitfalls of marriage and divorce that ever has been presented on the screen. The theme of love misguided provides one of the most gripping, human, heart-touching stories ever offered to motion picture theatres. It is a ringing indictment of divorce.and a stirring appeal to men and women who contemplate marriage, and those who are married, to abandon the follies of modern life wherein lies the peril of discontent. Pauline Frederick and ‘Lou Telle gen; two of the greatest emotional players on the screen have the leading roles and are supported by Leslie _ Austen, Helena D’Algy and an all star cast of actors, who, under the diection of Mr. Blackton, have given a performance of remarkable intelligence and emotional depth. It is a picture of beauty; the sets are lavish and there ig an atmosphere of luxury that places the picture far in advance of any recent offering to exhibitors—it breathes wealth and society and yet possesses that element of greatness in drama, human characters who live and suffer and are regenerated through the supreme sacifice. Mr. Blackton has evolved a score of new lighting effects and the direction is marked by artistic interpretation of the strong emotional situations with which the picture is filled. The sets are marvels of technical art and in genuity. The ultra modern method of | arrangement and scene draping and painting have lifted the background of this feature to a plane far above what has been known in motion picture scenic effects. Mr. Blackton is personally supervising the cutting of “Let Not Man Put Asunder,” and it will be ready for the Broadway showing in January. Director Blackton generously shares the credit for the production with his staff and cast. “T have never directed a picture in which the players worked so easily and contributed so much to assist me,” he said at Vitagraph Studios. “Miss ‘Frederick in my opinion is the finest screen star of the day. I know of no Gog! 6 wing Pictures Read The actress who so quickly ‘gets‘into’ the scenes and gives so much to the camera. Mr. Tellegen’s long career as an actor and his schooling on the stage in Paris is well known. He applies to his work before the camera the subtle artistry that so marks the Continental actor. January 1924— FIRST NATIONAL MONTH : Digest regrets the error appearing on the cover of the December Sth issue in Associated First Na tional’s _ announcement. You see there will be four times the period stated in which to fatten the boxoffice. “The Virginian” Registering Triumph for Preferred Reviewers and Exhibitors Ac claim Splendid Production — Distribution in Canada Through Dominion Films. Praise for Preferred Picture’s big production of “The Virginian” is pouring into the branch exchanges from all centres where the feature in which Kenneth Harlan is starred: has been shown. “The Virginian” one of the best known stories to play goers and the lovers of romantic literature is being presented in screen form to the Canadian public by Preferred Pictures through Dominion Films, Limited. Robert E. Sherwood in the New York Herald said of this picture: The Virginian’ is a melodrama of the old school, but a fresh point of view has been brought to bear on it and it is leadened with very antique hokum. ‘The Virginian’s’ chief virtues are its scenery and its acting. As for backgrounds, they are wonderful to behold. Tom Forman, the director, has managed to achieve some stirring shots of mountains and plains, setting his camera ‘in the most perilous locations to do so. Kenneth Harlan, who occupies the title role, gives a performance of great strength and sincerity. He is splendid.” The Evening Herald said: “Mr. Lumber Camp Theatre to Get Big Pictures Laurentide Pulp and Paper Company Take Steps to Secure High-Class Features for Community. Grand’ Mere, Que.—Val Bureau and Joe Hoig, of the Olympia Picture theatre here, have come out with a special announcement. In the future they are going to show big pictures exclusively and have already booked a number of Jewel productions. The new policy is conceived at the instance of the Laurentide Pulp and Paper Company, who have a considerable interest in the theatre and who intend that their employees shall miss nothing by reason of living in the country. Hence the six and seven-reel pictures that are usually confined to the cities will be put here at early runs. George O’Hara has taken up Indian wrestling as a light form of exercise, to help keep him in training for his . strenuous work in F.B.0.’s “Fighting Blood.” His wrestling partner is Frankie Adams, well-known physical culturist of Hollywood. Forman made a straight-forward film version of Owen Wister’s story. The photography something: about which the producers can well boast.” “The Virginian,” also did record business at its western premiere a cording to the management of the Grenada Theatre, in San Francisca where it enjoyed a week’s run. Reports to the exchanges show that “The Virginian” is smashing 4 records at Denver and Detroit. In Seattle the picture played to absolute capacity, in Los Angeles big preparations are being made for ts presentation and reports from Virginia show a hearty reception of B. Schulberg’s production. A Washington exhibitor writes: “lt may interest you to know that “™ Virginian’ on Thanksgiving Day broke all records for the Columbia the atre, despite the fact that it rained all day. We opened our box-office at o’¢lock and stood them up all day long The fact that we were breaking ords was called to my attention by ™Y operator, who mentioned that he ‘ not remember any picture that had packed them in like “The Virgin This caused me to dive into the © ports, and I fail to find anything : equal the business. Incidentally ! picture held up for three days pleased a hundred per cent.’