Canadian Moving Picture Digest (May 1926-Apr 1927)

Page scan 000752 from Canadian Moving Picture Digest

Record Details:

Title:
Canadian Moving Picture Digest
Date:
May 1926-Apr 1927
Volume:
Canadian Moving Picture Digest (May 1926-April 1927)
Leaf #:
000752
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:
August 07, 2025
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TORONTO 2, ONTARIO. PROJECTION By GUY E. McALLAN It is announced that an Idaho projectionist has invented an adjustable shutter; that 1s, one in which the width of the blades and opening can be easily changed by a projectionist to suit his local conditions. Such a shutter in the hands of an intelligent man would be a very good thing to have, but in the hands of some careless machine operator, not so good! * * * If the projectionist should wish to find out which wire of a circuit is positive and which is negative all that he needs is a common garden type of potato. Thrust the ends of the wire into the potato a short distance apart, the potato will turn green around the positive wire. * * x Among a number of causes of damage to film during projection it is no doubt that the greatest offender is the ‘setting up of the gate tension too tight, this is usually done in an effort to obtain a steady picture while running at a great rate of speed. This usually results in strained sprockeet holes so that the next projectionist who runs the picture has an unsteady picture on the screen. No reel of film should be run in less time than twelve minutes to the reel and ten minutes per reel should be the maximum at anv time. Another point that should be watched is the tension of the take-up. True modern projectors do not cause the damage to film through their takeup that older machines did but still any tension more than just enough to take up the reel being run is not only bad but very bad indeed. Care should be taken that the film tracks, apperture plate, sprockeet idlers and rollers of the film or magazine valves are free from dirt and emulsion, for such will cause the film to be badly scratched. Another place to watch is in rewinding and do not attempt to hold one reel still while winding the other one as such usage causes the film to slide over the next laver and will every time cause scratches. * * * A very fine oil for use in the intermittent oil well can be made as follows: In a small glass place about half a pint of olive oil and in this put a strip of pure lead, allow it to set in the strong sun until the olive oil becomes limpid, then strain through a cloth and use. Conrad Veidt Publicizes America in Germany Under Contract with Universal — Will Star in “The Chinese Parrott.” UROPEAN film circles are all attention over the frankness of Conrad Veidt, the first German screen favorite to visit America and take back a frank message of warning as to what is wrong with European motion pictures and motion picture methods in comparison with American pictures and methods. Interviews with Veidt, in which he directs European film producers to “go to America and learn” are being reprinted far and wide in Continental papers and magazines. Back To America. Veidt is now on his way back to America to fulfill a three year contract with Carl Laemmle of the Universal Pictures Corporation. His prior trip to this side of the Atlantic was at the request of John Barrymore, with whom he worked in a forthcoming picture. America Team-W ork. Without mincing matters, Veidt told Europe why American pictures are the most popular all over the world. “Team-work, not money alone, is the answer to America’s success,” the German favorite is quoted as saying. “When a picture goes into production in America there is a remarkable spirit of co-operation or team-work. From the director down to the most humble mechanic, the making of a good picture is the only objective. Everything is subordinated to the interests of the picture. Catering To Young. “Also, in America, you will learn how to treat the coming generation In Europe, the younger element with its present day ideas and methods is purposely overlooked and kept at a distance. How different it is in America! There everyone is constantly on the look-out for new faces, new ideas and new talent. Even the best known actors and actresses have to be progressive. There is no standardization of type and styles in acting, as in Europe. The American film world lives in the present, not in the past.” Hollywood Serious. Veidt also praises film working conditions in America, and scouts reports of wild life in Hollywood. “The idea that life in Hollywood is one continuous round of pleasure and wild night _ (Continued on Page 16) Google Page Fifteen Toronto Theatres REGENT — “The Scarlet Letter,” with Lilian Gish and Lars Hanson —Metro-Goldwyn-Mayer. Adaptation of Hawthorne’s powerful story. Directed by Seastrom in masterful manner. Both the leads in strong parts admirably played. Karl Dane as Giles, very good. Henry B. Walthall as Prynne, excellent. Class A UPTOWN — “Exit Smiling,” with Beatrice Lillie — Metro-GoldwynMayer. Lady Peel big draw. Toronto girl who made fame in “Charlot’s Revue.” Marc Connelly and Sam Taylor responsible for lively direction of plenty of comedy scenes. Lady Peel gets an opportunity for her hilarious sense of humour, softened by some teary bits. Jack Pickford as the hero does some good work. Class B plus. LOEW’S — “A Little Journey,” with Claire Windsor and William Haines —Metro-Goldwyn-Mayer. Class B. Excellent leads. Claire Windsor always attractive and dependable for good work. Haines gives good performance. Entertaining. Robt. Z. Leonard directing. Adapted from , story by Rachel Crothers. PANTAGES — “Whispering Wires” with Anita Stewart—Fox Special. Class B. Good popular entertainment. Thrills, mystery. TIVOLI — “The Lady in Ermine,” with Corinne Griffith — First National. Francis X. Bushman strong part. Corinne in emotional role suited to her temperment. Looks every inch a queen in her regal gowns and settings. Class B. Neighborhood Theatres PALACE — “The Flaming Forest,” with Renee Adoree, and Antonio Moreno — Metro-Goldwyn-Mayer. Class A. An all Canadian picture, and acclaimed one of the _ best. Splendid work from both leads. Re _nee Adoree always outstanding “The Silent Lover,” with Milton Sills— First National. Class B. _ Sills’ fans will enjoy this thrilling drama of the silent desert. ST. CLAIR — “Her Big Night,” with Laura La Plante—Universal. Class B. Sparkling Laura in a sparkling picture. This popular Universal star is steadily building up a following. “Valencia,” with Mae Murray — Metro-GoldwynMayer. Class B plus. Beautiful Mae thrills her audience in this romantic tale of Sunny Spain. Be careful Mae of the lines which are called matronly.